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

Posts Tagged ‘1961


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 :

5082 Post No. : 17005

“Aplam Chaplam”(1961) was directed by Ramdayal and directed by Roop K Shourey by Mukul Pictures, Bombay. The movie had Kumkum, Ravindra Kapoor, Tabassum,Majnu, I.S.Johar, Tiwari aka Ramayan Tiwari,Wazir Mohammed Khan, Jeevan,Mridula rani,
Kathana, Badri prasad,Sagar, Abdul etc in it.

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

Here is the fourth song from “Aplam Chaplam”(1961) to appear in the blog. This song is sung by Rafi and Manna Dey. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

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

Lyrics of this song were sent to me by Prakashchandra.

audio link:

Song-Duniya jidhar jhukey jhuk jaa (Aplam Chaplam)(1961) Singer-Rafi, Manna Dey, Lyrics-Prem Dhawan, MD-Chitragupta
Rafi + Manna Dey

Lyrics(Provided by Prakashchandra)

duniya jidhar jhukey jhuk jaa
duniya jidhar rukey ruk jaa
aisey ho yaa waisey ho tu
kaam chalaaye jaa..aa…aaa

kyun bhai aplam…mmmm
haan bhai chaplam…mmm
kyun bhai aplam…mmmm
haan bhai chaplam…mmm

hai kaun jahaan mein jhoothaa
to kaun hai pyaarey sachchaa
jo apnaa rang jamaa ley ae
hai wohee sabse achchaa..aa

hai kaun jahaan mein jhoothaa
to kaun hai pyaarey sachchaa
jo apnaa rang jamaa ley ae ae
hai wohee sabse achchaa
mauqaa jahaan miley dat jaa

hatnaa jahaan padey hat jaa
aisey ho ya waisey ho tu
kaam chalaaye jaa

kyun bhai aplam…mmmm
haan bhai chaplam…mmm
kyun bhai aplam…mmmm
haan bhai chaplam…mmm

chadhtey sooraj ko poojo
kehtaa hai yehee zamaanaa

jis sur mein gaaye duniyaa
us sur mein gaatey jaanaa..aa..aaa
chadhtey sooraj ko poojo
kehtaa hai yehee zamaanaa

jis sur mein gaaye duniyaa
us sur mein gaatey jaanaa..aa..aaa
boley agar ye saa to saa
boley agar ye paa to paa
aisey ho ya waisey ho tu
kaam chalaaye jaa

kyun bhai aplam…mmmm
haan bhai chaplam…mmm
kyun bhai aplam…mmmm
haan bhai chaplam…mmm

chaahey ye duniyaa hamko
kitnaa hi fraud pukaarey
hum kaun hain yaaron kyaa hain
bas God hi jaaney pyaarey aey ae

chaahey ye duniyaa hamko
kitnaa hi fraud pukaarey
hum kaun hain yaaron kyaa hain ae
bas God hi jaaney pyaarey aey ae
koyi buraa kahey to kyaa

koyi bhalaa kahey to kyaa
aisey ho ya waisey ho tu
kaam chalaaye jaa..aa…aaa

kyun bhai aplam…mmmm
haan bhai chaplam…mmm..mm
kyun bhai aplam…mm..mm
haan bhai chaplam…mmm

duniya jidhar jhukey jhuk jaa
duniya jidhar rukey ruk jaa
aisey ho yaa waisey ho tu
kaam chalaaye jaa..aa…aaa

kyun bhai aplam…mmmm
haan bhai chaplam…mmm
kyun bhai aplam…mmmm
haan bhai chaplam…mmm


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 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 :

5080 Post No. : 17003

Today’s song is from the film ‘Kismat Palat Ke Dekh’ (1961).

Generally, I like to write on films from the 30’s to the 50’s decade, which is my comfort zone. I feel homely and on friendly ground when I write about those old films. Films after 1960 are NOT a ‘ NO- NO ‘ for me, but unless I find either the film or the song interesting, I normally do not choose that song. That way and to allay any misunderstanding in our readers’ minds, let me stress here that I have written more than 200 posts on films from 1960 to 2013 also. Actually since there is still so much scope in the first 3 decades of talkie films, turning to the films of 60+ songs is not that common.

Just for my own information, I was curious about when was the last song from the 60’s discussed by me. I took out my long books wherein I first hand write my articles, backwards from my post on the 12th June 2022. I was surprised to find that my last song-post for a film of 1962 (‘Sautela Bhai’) was on 6-12-2020 ! That’s a cool gap of 176 posts in between !!

The usual question comes as to what is an ‘Old Film’ ? It all depends on the person’s age who wants to know the answer. Over a period of last so many years I got the following answer….

For a Person Aged An Old Film is From
20-30 years films of and prior to 1990
30-40 1980
40-50 1970
50-60 1960
60-70 1950
70-80 1940
80++ 1930

For youngsters of 20-30 years, songs of 1930 are antiques, 1940’s are Grandpa’s choices, 50 & 60’s are Dad’s favorites and 70 & 80’s are very old songs ! So, one can see the connection between the age and the period of film songs to label it differently !

Now coming to today’s song ‘Kismat Palat Ke Dekh’ (KPKD) was a costume/stunt drama. The title of this film has an interesting history behind it.

During the 30’s and the 40’s there was a comedian named Noor Mohammed. Based on his role as Charlie Chaplin including his dress, mustache, hat, stick, talk and walk, he was nicknamed as Charlie. There was a time when this Charlie was extremely popular all over India. He used to sing his own songs too. He became so famous and popular that films were sold in his name . He started to get special songs shot on him in almost every film – much before Johnny Walker in the 50s. He sang his own songs. He left Ranjit Studios and was the first actor to become a ‘free-lance‘ breaking the studio system. Some of his films and songs therein were famous all over India. In the film ‘Sanjog’ (1943), he sang “Palat, Tera Dhyan Kidhar Hai“. This line became so famous that young boys in colleges used this line for calling girls, in those days. In the film ‘Dhandhora’ (1941), he sang “Ek Do Teen Char Paanch Chhe Saat Aath Nau Dus Gyara Bara,Teri Nazar Ne Mujhe Mara“. Raj Kapoor used “Ek Do Teen Aaja Mausam Hai Rangeen” (film ‘Awaara’ (1951)) and later Madhuri Dixit’s “Ek Do Teen” (film ‘Tezaab’ (1988)) became very famous. In the film ‘Taqdeer’ (1943) he sang ”Thank You, Mention Not” and “I Am Very Very Sorry”. These too became popular.

Based on Charlie’s song “Palat, Tera Dhyan Kidhar Hai” this film’s title was finalized as ‘Zara Palat Ke Dekh’. For reasons unknown to others, the Censor board objected to this title and asked the makers to change it. After a lot of arguments, the makers finally had to change it to ‘Kismat Palat Ke Dekh’. I have seen this film. Neither the original nor the revised title had any connection with the story of the film.

This was the first and the only film directed by actor CS aka Chandrashekhar Dubey. I could not get enough information about Dubey from anywhere. He used to live somewhere in the Seven Bungalows area of Andheri west, where I have been living since long time. I used to see him along with his friends sitting in a hotel nearby sometimes. After searching a lot, I came across a short note on him by Mr. MN Sardana ji on the FB page of ‘Wo Din Yaad Karo’. For our readers, I reproduce it here after adapting and adding my information to it from my notes.

Chandrashekhar Dubey aka C Dubey was born on 4-9-1924 at Village Kannod of Dewas District in the then Central Provinces (now Madhya Pradesh). During his college education, he was very active in politics and had been in jail during the Quit India movement too. He had his quota of struggle, when he arrived at Mumbai to become someone .

Luckily he found his Godfather in film maker Amiya Chakraborty, who noticed him and took him under his wings. Dubey, became his Man Friday. He was spot boy, production executive, prompter and assistant director all rolled into one, besides doing small roles in the films made by Mars & Movies and other production Houses . His first film was ‘Devdaasi’ (1945).

Filmmaker Guru Dutt gave him the role of a doctor in ‘Mr & Mrs 55’ (1955), which got him much needed publicity. In the famous movie ‘Seema’, made by his mentor Amiya Chakraborty, Dubey was assigned the role of a street ruffian cum thief, who made the life of heroine Nutan miserable. People found Dubey quite amusing and he became a full time actor. In 1957 Amiya Chakraborty passed away suddenly due to heart attack, leaving his movie ‘Kathputli’ incomplete, which was completed by Nitin Bos. Totally dedicated to his late master Amiya Chakraborty, Dubey did not leave the company. Ajit Chakraborty took the reins of the company and made ‘Ardhangini’ in 1959 and ‘Apne Huye Paraye’ in 1964 and Dubey gave him his full support and services.

While he was established as a character actor, he now wanted to exhibit his other skills by directing a film He got a chance in 1960 to direct a light hearted entertaining movie ‘Zara Palat Ke Dekh’. It was a modest movie and had an experienced artist Anoop Kumar And a new bee Preeti Bala as lead players. Anoop Kumar had appeared in many movies in supporting roles and had done a variety of roles like hero, comedian, villain and sympathetic roles. In the 1952 movie ‘Rani’, which was made by Jupiter Pictures, Madras and directed by LV Prasad , he did a swashbuckling role of a warrior, opposite the great actress of South Bhanumathi, who was a versatile singer also.

Preeti Bala was raw and had only a faint idea about acting. Instead of changing the style of acting, she changed her name as Zeb Rehman, which did not bring any change to her destiny. She was in news during sixties when she did body double of Madhubala in few movies like ‘Half Ticket’, ‘BoyFriend’ and ‘Passport’, since Madhubala was ailing and it was not possible for her to attend the shooting. The movie ‘Zara Palat Ke Dekh’ had music by Gunjan. The movie, when completed and sold, faced a big hurdle, when Censor Board refused to certify the movie. Their main objection was related to the title of the film, which they found offensive and denigrating. Producer tried to justify the title, but our prude and adamant Censor Board refused to budge and insisted on changing the title. Since publicity material including lobby cards were already printed, film makers reluctantly renamed the movie as ‘Kismat Palat Ke Dekh’. The movie when released in 1961, did not do good for any one and all those connected with the movie were disappointed. Since the movie had flopped, it poured cold water on the ambition of music composer Gunjan, director Dubey and the lead players. Producers duo Nanda and Gupta after losing substantial money downed the shutter of their company.

CS Dubey was a good character actor. He acted in 196 films. His last film was ‘Antim Nyay’ (1993). He died on 28-9-1993, but after his death, his 8 films were released – the last one being ‘Yaar Meri Zindagi’ (2008).

(Thanks to Mr. M.N.Sardana ji).

The film’s music director was Gunjan. Who was Gunjan? Most people do not know that Gunjan was another name under which singer/composer GM Durrani gave music. As Gunjan he also gave music to film ‘State Express’ (1961). Earlier in his career, he gave music to films like ‘Angoori’ (1943), ‘Vijayalaxmi’ (1943) and ‘Dhadkan’ (1946) under his real name.

The cast of the film was Anoop Kumar, Preeti Bala (aka Zeb Rehman), Durga Khote, Daljit, Iftikhar, Majnu, Polson, Dalda, Jeevankala etc.

‘Kismat Palat Ke Dekh’ was truly an obscure movie. It was clearly a B grade film with the appropriate star cast. The Hero Anoop kumar was in double role in this film (as if one Anoop was not enough !).

The film was produced by Balendra Gupta and NC Nanda, under the banner of Movie Hits (indicating hopes), and was directed by CS Dubey or Chandrashekhar Dubey, a small time actor in those days. Dubey was a veteran, having started his career from the 30s and he used his knowledge of old films in this.The original title of this film was ‘Zara Palat Ke Dekh’.

Later on the title was changed to ‘Kismat Palat Ke Dekh’. However neither the audience ‘zara bhi palat ke dekh’ nor their kismet changed jara bhi !

The lyricists were Akhtar Romani and Sadiq Nazmi. Story and screenplay by Sri Prakash and Dialogues by Suman Romani.

The story of the film was….

The story had nothing remarkable and it was highly predictable. Prince Kunwar (Anoop Kumar) is studying in UK when his father dies and the king appoints him as his successor, instead of his elder brother Samsher (Daljit), who is a gone case, indulging in wine, women and gambling. Kunwar starts for India. Samsher wants to kill him. Loyal Diwan ji and another sardar, Mansingh are escorting Kunwar when they are attacked. Diwanji is killed, Kunwar is injured seriously and thrown in a river presuming dead, but Mansingh escapes. Mansingh, one day finds Badloo (Anup Kumar), who looks same to same as Kunwar. Mansingh does not know that he is a barber. Mansingh makes him the Kunwar and brings him to the capital of Kingdom. Princess Kiran (Preeti Bala) who is engaged to Kunwar suspects Badloo.

The real Kunwar is saved by people of Imlipur as Badloo and brought to his ‘mother’ (Durga Khote). Kunwar understands the situation and keeps quiet till opportune moment comes. Finally he contacts Kiran and they together expose the impostor prince, kill Samsher in a fight and reunite themselves as a reward.

In the early 60s, when the Film industry was churning out excellent movies after movies, it was hardly expected that such a film would succeed. The film got what it deserved. A peaceful rest in the cans !

The mukhda remains the same as the original title of the film “Zara Palat Ke Dekh”.

HFGK mentions Manna Dey and chorus, but the voice of S Balbir is also there in the song.


Song- Zara palat ke dekh (Kismat Palat Ke Dekh)(1961) Singers-Manna Dey, S Balbir, Lyricist – Not known, MD- Gunjan (GM Durani)
Chorus

Lyrics

palat
palat
zara palat ke dekh

o o o o
zara palat ke dekh
palat

meri unglion ka jaadoo
ik baar dekh
do baar dekh
dus baar dekh baabu
o topiwaale laalu
o pagdiwaale kaalu
o dhotiwaale baalu
kaahe bana hai bhaalu

hai koi dilwaala
to aage aaye laala
banaa doon matwaala
zamaane se niraala
o mathura waale maamu
o dilli waale shaamu
o bambai waale ramu
o maamu
abe shaamu
ae ramu
ae daamu naamu gaamu shaamu ho oo

mat ho udaas
aa mere paas
aa jin ka jaam badloo
o o o
zara palat ke dekh
ae ae ae ae palat

aa aa aa aa aa
majnu aur farhad ka maine
shave kiyaa thhaa pyaare
aa aa aa aa aa

ban gaye donon
aaj zamaane ki aankhon ke taare
ae mukhda main chamkaa doon aisa
dilbar khud dil haare
shaam jee
haay
raam jee
haaye
shaam jee
haaye
raam jee
haaye
shaam jee
haaye

ae mukhda main chamkaa doon aisa
dilbar khud dil haare
aur pukaare
kya

ke kisne banaai teri daadhi
sanwariyaa
waari waari jaaun
waari waari jaaun
sainyya
waari waari jaaun rasiya
waari waari jaaun balmaa
kisne banaai teri daadhi
sanwariyaa
waari waari jaaun
ho o
zara palat ke dekh

aa aa aa aa aa
aa aa aa aa aa
mujhse shave karaa le pyaare
ban jaayega hero
ae varna reh jaayegaa baabu
ae tu zero ka zero

arre ashok aur kishor hi ka sun lo afsaana
kabhi banaate thhe daadhi
hum unki rozaana
jabhi to aaj zamaana hai unka deewaana
wo bhool baithhe hamen dil magar ye bhoola naa
magar ye bhoola na

kya
wo unka yahaan aana
wo aage baithh jaana
hazaamaten karaana
kahaaniyaan suuraana
tum bhi aavo shave karaavo
mumkin hai waise ban jaao
haan haan waise ban jaao
haan haan waise ban jaao
o o o
zara palat ke dekh
o zara palat ke dekh
o zara palat ke dekh
o o zara palat ke dekh
palat


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 :

5008 Post No. : 16909

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 40
————————————————————————————–

This date ten years ago (4 April 2012) was a prolific day for the blog. As many as eight songs from eight different movies were covered in the blog on that day. Here are the details:-

Blog post number song Movie (Year) Remarks
5727 Saawan ke nazaare hain Khazaanchi(1941) Movie YIPPEED by now
5728 Manwa kaahe phir tadpaaye Waapas(1943) Movie YIPPEED by now
5729 Sochne ko laakh baaten soche insaan Baap Bete(1959) Movie YIPPEED by now
5730 Haathhon mein haath hothon pe afsaane pyaar ke Door Ki Aawaaz(1964) Movie YIPPEED by now
5731 Dekho bijli doley bin baadal ke Phir Wohi Dil Laaya Hoon(1963) Movie YIPPEED by now
5732 Aapko pyaar chhupaane ki buri aadat hai Neela Aakash(1965) Movie YIPPEED by now
5733 Babam babam bam bam lehri Ramu Dada(1961) 5 songs covered out of 10
5734 Jab koi ladki baar baar mere dil ko tadpaaye Chattaan Singh(1974) One songs covered out of 5

We can see that six movies (out of eight) whose songs were covered on that day have since been YIPPEED in the blog. That leaves us with only two movies that are still eligible for Blog Ten Year Challenge today (4 April 2022).

“Ramu Dada”(1961) is one such movie. This movie was produced and directed by Adarsha for Adarshlk, Bombay. The movie had Sheikh Mukhtar in title role. In addition, the movie also had Jaymala,Salim, Sapru, Neelofer, Honey Irani, Chand Usmani, Rajan Haksar, Jagadish Srivastava, Dubey, Champak lala, Bhim, Sheila vaz, Shakila Banu Bhopali etc in it.

“Ramu Dada”(1961) had ten songs in it. Five songs have been covered so far.

Here is the sixth song from “Ramu Dada”(1961). This song is sung by Lata Mangeshkar and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

The song is picturised on Jaymala and Aruna, among others.

Lyrics of the song and other details were sent to me by Prakashchandra.

video link:

audio link:

Song-Din hai suhaana mastaana (Ramu Dada)(1961) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Chorus

Lyrics(Provided by Prakashchandra)

din hai suhaana mastaana
kahin miley na koyi deewaanaa
dil chaley dhadkataa mod mod pe
din hai suhaana mastaanaa
kahin miley na koyi deewaanaa
dil chaley dhadaktaa mod mod pe
din hai suhaana mastaanaa

dekho o o raste hain
rangeen nazaaron waaley
ahhaaa..hhhaaa….aahhaa
aahhaa hhhaa…ahhhaaa..hha

dekho o raste hain
rangeen nazaaron waaley
jaadoo karte hain
din ye ae bahaaron waaley
milke zara chalna saheli..ee
baahon mein baahen jod jod ke
din hai suhaana mastaanaa
kahin miley na koyi deewaanaa

haayye dil chaley dhadaktaa mod mod pe
din hai suhaana mastaanaa

mud ke reh jaaoon
ban ban ke main deewaani
ahhaaa..hhhaaa….aahhaa
aahhaa hhhaa…ahhhaaa..hha

mud ke reh jaaoon
ban ban ke main deewaani
phir bhi nahin maaney
chanchal hawaa mastaani
dekho jee meri zulfon ko thhaamey ae
hawaa ka jhonkaa daud daud ke
din hai suhaana mastaana
kahin miley na koyi deewaanaa

dil chaley dhadaktaa mod mod pe
din hai suhaana mastaanaa

kehti hai duniyaa
ye hai lutera mausam
ahhaaa..hhhaaa….aahhaa
aahhaa hhhaa…ahhhaaa..hha

kehti hai duniyaa
ye hai lutera mausam
aisey mausam se
dil ko lagaana kam kam
phir bhi dhadaktaa dil
chaley hai peechhe duniyaa chhod chhod ke
din hai suhaana mastaana
kahin miley na koyi deewaanaa

hoyye dil chaley dhadaktaa mod mod pe
din hai suhaana mastaanaa
kahin miley na koyi deewaanaa
dil chaley dhadaktaa mod mod pe
din hai suhaana mastaanaa


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 :

5005 Post No. : 16905

“Apsara”(1961) was directed by V M Vyas for Chitralaya, Bombay. The movie had Padmini, Pradeep Kumar, Nirupa Roy, Daljeet, Nayana, Anwar, B.M.Vyas, Maruti etc in it.

“Apsara”(1961) had 18 songs in it. Six songs have been covered so far.

Here is the seventh song from “Apsara”(1961) to appear in the blog. This song is sung by Suman Kalyanpur. Lyricist is not known. Music is composed by Husnlal Bhagatram.

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

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Aaja ree nindiya nain dwaarey (Apsara)(1961) Singer-Suman Kalyanpur, MD-Husnlal Bhagatram

Lyrics(Provided by Prakashchandra)

aajaa ri nindiyaa
nain dwaarey
nanhaa saa munna
palkein pasaarey ae
nanhaa saa munna
palkein pasaarey
maa ko bisaarey
tujhko pukaarey
aajaa ri nindiyaa
nain dwaarey
nanhaa saa munna
palkein pasaarey ae
nanhaa saa munna
palkein pasaarey

aankhon mein aake
sapne sajaa dey
sapne sajaa dey
kaanon mein iske
ghunghroo bajaa dey
ghunghroo bajaa dey
jholi mein bhar de ae chandaa sitaarey
aajaa ri nindiyaa nain dwaarey
nanhaa saa munna
palkein pasaarey

dukhiya ko paapi
duniyaa ne lootaa
godi ka bachchaa
maataa se chhootaa
dukhiya ko paapi
duniyaa ne lootaa
godi ka bachchaa
maataa se chhootaa
maa roti hogi aanchal pasaarey
aajaa ri nindiyaa nain dwaarey
nanhaa saa munna
palkein pasaarey

duniyaa mein koyi
maataa na jiski
maataa na jiski
woh bachcha meraa
main maataa uski
main maata uski
aisey hain mere ae
laakhon dulaarey
aajaa ri nindiyaa nain dwaarey
nanhaa saa munna palkein pasaarey ae
nanhaa saa munna palkein pasaarey ae


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 :

4985 Post No. : 16871

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 29
————————————————————————————–

This date ten years ago (viz 12 March 2012) was a “lean” day by the standards of the blog those days. “Only” four songs were covered on that day. Here are the details of the songs :-

Blog post number song Movie (Year) Remarks
5627 Achcha jee maaf kar do Musaafirkhaana(1955) Movie YIPPEED by now
5628 Hai zindagi itni haseen Apsara(1961) 5 songs covered out of 18 by now
5629 Milti hai agar nazron se nazar Do Dilon Ki Daastaan(1966) 77 songs covered out of 8
5630 Ye parda hata do Ek Phool Do Maali(1969) Movie YIPPEED by now

One can notice that two movies (out of four) whose songs were covered ten years ago on this date have since been YIPPEED. Taht leaves us with two movies whose spngs can be covered as blog ten year challenge today (12 march 2022).

“Apsara”(1961) is one of the movies. This movie was directed by V M Vyas for Chitralaya Bombay. the movie had Padmini, Pradeep Kumar, Nirupa Roy, Daljeet, Nayana, Anwar, B.M.Vyas, Maruti etc in it.

The movie had a whopping 18 songs in it. five songs have been covered so far.

Here is the sixth song from “Apsara”(1961) to appear in the blog. The song is sung by Suman Kalyanpur. Gopal Singh Nepali is the lyricist. Music is composed by Husnlal Bhagatram.

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

Lyrics of the song were sent to me by Prakashchandra.


Song-Chhup chhup ke chale aao kabhi chaand ho na ho (Apsara)(1961) singer-Suman Kalyanpur, Lyrics-Gopal Singh Nepali, MD-Husnlal Bhagatram

Lyrics(Provided by Prakashchandra)

chhup chhupke chaley aao
kabhi chaand ho na ho
chhup chhupke chaley aao
kabhi chaand ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

poonam ki dhuli raat hai
dil beqaraar hai ae
ho o o ho o ho o o
poonam ki dhuli raat hai
dil beqaraar hai
bechain sitaaron ko teraa intezaar hai
bechain sitaaron ko teraa intezaar hai
teraa intezaar hai
phir pyaar se ye chaandni aabaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

aazaad hawaaon mein pali phool ki kali..eee
ho o o ho o ho o o ho o
aazaad hawaaon mein pali phool ki kali
aakar basi hai aaj tere pyaar ki gali
aakar basi hai aaj tere pyaar ki gali
tere pyaar ki gali
mil jaao ke phir zindagi aazaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

lagtaa hai ke bas aa rahey ho
aa rahey ho tum
ho o o ho o ho o o
lagtaa hai ke bas aa rahey ho
aa rahey ho tum
raahon ke har chiraag ko
chamkaa rahey ho tum
raahon ke har chiraag ko
chamkaa rahey ho tum
chamkaa rahey ho tum
ye khwaab mazedaar hai
tumhein yaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhupp chhupke chaley aao o


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

Blog Day :

4963 Post No. : 16834

“Shola Aur Shanam-1961” was directed by Ramesh Saigal for ‘Parijaat Pictures, Bombay’. It was a social drama movie.

This movie had Tarla, Dharmendra, Abhi Bhattacharya, M. Rajan, Mubarak, Vijaylakshami, Jeevankala, Sulochana, Leela Mishra, Dhoomal, Johny Whisky, B.N. Shukla, B. Parera, Baby Chandrakala, Master Akashdeep, and others.

This movie had ten songs as mentioned in HFGK Vol-IV (1961-1970). As many as five lyricists wrote the songs for this movie. Music for this movie was composed by Khayyam.

The list of the songs this movie has is as given below.

SNo Song Title Singer/s Lyricist Posted On
01 Mummy aur daddy mein ladaayi ho gayi Asha Bhonsle Raja Mehndi Ali Khan Being discussed today
02 Jeet hi lenge baazi hum tum Lata, Rafi Kaifi Azmi 25.08.2009
03 Phir wohi saawan aaya, saajan aaye naa Jagjit Kaur Prem Dhawan 21.05.2012
04 Kaun aata hai idhar, koyi nahin Jagjit Kaur, Rafi* Jaan Nisar Akhtar
05 Agar dil se takraaye to afsaana bataa daalen Rafi, Manna Dey, Jagjit Kaur* Jaan Nisar Akhtar*
06 Mathura shyam chaley saawan ghan sa umad padaa brij Manna Dey, Geeta Dutt, Kaumudi Munshi,chorus Ram Murti 22.10.2014
07 Ladi re ladi tujhse aankh jo ladi Jagjit Kaur Prem Dhawan 11.01.2011
08 Jaane kya dhhoondhhti rehti hai ye aankhen mujhme Mohd Rafi Kaifi Azmi 10.05.2009
09 Phir nahin aane waali pyaare aisi milan ki raat Asha Bhonsle, Manna Dey, chorus Prem Dhawan*
10 Pehle to aankh milaanaa Rafi, Jagjit Kaur Kaifi Azmi 11.01.2021

From the above table we can see that six songs out of ten songs of this movie have been posted on the blog so far.

Today 18th February’2022 is the ninety-fifth birth anniversary of music director Khayyam (18.02.1927 – 19.08.2019). As a tribute to him on this occasion, I am presenting a song from this movie ‘Shola Aur Shabnam-1961’. This movie made its debut on the blog on 10.05.2009 and still waiting for its all songs to be covered on the blog.

Today’s song is sung by Asha Bhonsle, and it is picturised on Baby Chandrakala and Master Akashdeep. Also seen in the picturisation of this song is Leela Mishra and other artists. (I could not identify the man playing Leela Mishra’s husband.)

Today’s song, though a children song, is a description of fighting and patch-up between the parents.

I think this must be one of the very few songs that Khayyam Saab composed as a ‘children song’. I do not remember any other song. I would request knowledgeable readers to throw more light on this movie and its songs.

Let us now enjoy today’s song sung by Asha Bhonsle. Lyrics are by Raja Mehndi Ali Khan. Music is composed by Khayyam Saab.

Lyrics of this song were sent by Prakashchandra.

Audio

Video

Song-Mummy aur daddy mein ladaai ho gayi (Shola Aur Shabnam)(1961) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Khayyam

Lyrics(Provided by Prakashchandra)

mummy aur daddy mein
mummy mein daddy mein
mummy aur daddy mein aen aen aen
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee ee

daddy ne gussey mein aake de dee gaaliyaan
anpadh
bewaqoof kahin ki
daddy ne gussey mein aake de dee gaaliyaan
mummy ne gussey mein aake todi thaaliyaan aan
todi thaaliyaan
maine jo donon se kahaa peace peace peace
maine jo donon se kahaa peace peace peace
donon ne tamaache mujhe maarey bees bees
maarey bees bees
apni to muft mein thukaayee ho gayi
apni to muft mein thukaayee ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee ee

daddy ne inkaar kiya khaane ke liye
mummy ne saamaan baandhaa jaane ke liye
hunh hunh jab dekho gaali dete ho
sambhaalo apna ghar
main jaati hoon apne maaike
haan
main to samjhaa donon mein judaai ho gayi ee
main to samjhaa donon mein judaai ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayi
mummy aur daddy mein ladaayi ho gayi ee ee ee

thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
thhodi der baad donon thhande ho gaye
down down gussey ke wo thhande ho gaye
dheere dheere sulah aur safaayi ho gayi ee ee
dheere dheere sulah aur safaayi ho gayi
mummy aur daddy mein ladaayi ho gayi
cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee ee

daaddy’on ko mummy’on sataayaa naa karo
mummy’on ko daaddy’on rulaaya naa karo
chhoti chhoti baat ko badhhaayaa naa karo
bhaloo ka tamaashaa aa
bhaaloo ka tamaashaa
ye dikhaayaa na karo oo oo oo oo

baat nikli munh se to paraayi ho gayi ee
baat nikli munh se to paraayi ho gayi
mummy aur daddy mein ladaayi ho gayi
haan cheen pe japaan ki chadhhaayee ho gayin
mummy aur daddy mein ladaayi ho gayi ee ee ee


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4918 Post No. : 16741

“Sapan Suhaane”(1961) was directed by Kedar Kapoor for K R Films, Bombay. This “social” movie had Balraj Sahni, Geeta Bali, Bhagwan, Kamini Kadam, Chandrashekhar, K N Singh, Leela Mishra, Parveen Paul, Samson, Ram Mohan, Helen etc in it.

The movie had seven songs in it. Six songs from this movie have been covered in the blog. Here are their details:-

Blog post number Song Date of post Singer(s)
1440 Ghoonghat hata na dena goriye 14 June 2009 Lata
1793 Chaand kabhi thaa baahon mein 23 August 2009 Sabita Chaudhary
1847 Naam mera Nimmo mukaam Ludhiyaana 1 September 2009 Lata, Manna Dey, Dwijen Mukherjee
13519 Dil kehta hai zara to dam le lo 12 August 2017 Manna Dey
15798 O gori aa jaa gaddi vich baithh jaa 12 August 2020 Manna Dey , Lata
16031 Nazar se mil gayi nazar 10 November 2020 Sabita Bannerjee , Dwijen Mukherjee

Here is the seventh and final song from “Sapan Suhaane”(1961). The song is sung by Manna Dey and chorus. Shailendra is the lyricist. Music is composed by Salil Chaudhary.

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

With this song, all the songs of “Sapan Suhaane”(1961) have been covered in the blog. “Sapan Suhaane”(1961) thus joins the list of movies that have been YIPPEED in the blog.


Song-Lo sun lo ye mera afsaana (Sapan Suhaane)(1961) Singer-Manna Dey, Lyrics-Shailendra, MD-Salil Chaudhary
Chorus

Lyrics

aa aa aa aa
lo sun lo ye mera afsaana aay
dilchasp hai dil ka afsaana aa aa aa haay
haay
lo sun lo ye mera
dilchasp hai dil ka afsaana
lo sun lo ye mera afsaana
dilchasp hai dil ka afsaana

jis raah pe hai aana jaana
us raah pe uska mil jaana
lo sun lo ye mera afsaana
dilchasp hai dil ka afsaana

aji jis raah pe hai aana jaana
us raah pe uska mil jana
lo sun lo ye mera afsaana
dilchasp hai dil ka afsaana

wo mast nazar jaise hi hansi
main dene chala dil nazraana aa
yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat

mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai mana hai
mana hai mana hai
mana hai mana hai
mana hai mana hai
mana hai
yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
/em>

aa aa aa aa
kya cheez hai chaahat
kya kehne
uff o ye mohabbat
kya kehne
mil jaaye jo daulat
kya kehne
khul jaati hai kismat
kya kehne
kya cheez hai chaahat
kya kehne
lo ho gayi muhabbat
kya kehne
mil jaaye ye daulat
kya kehne
khul jaati hai kismat
kya kehne

hum badhne lage thhe
kya kehne
hum badhhne lage thhe
kya kehne
phhadki thhi tabeeyat
kya kehne ae

magar itne mein

yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat

mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat

aa aa aa aa
aa aa aa aa
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat

ga re ma pa dha ni sa
dha ni sa
dha ni sa
dha ni sa
dha ni dha ta ni
dha ta ni
dha ta ni dha pa ma ga
dha ta
ma ga re sa
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat

mana hai yaad aaya ke mohabbat
mana hai mana hai
mana hai mana hai
mana hai mana hai
mana hai mana hai
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat
mana hai yaad aaya ke mohabbat


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


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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 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Blog Start date: 19 july 2008

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