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

Posts Tagged ‘1962


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4514 Post No. : 16067

Today, November 26, 2020 is the 31st Remembrance Day of Chand Usmani (03/01/1933 – 26/11/1989). She excelled in the roles of a suffering woman – as a wife, a sister and later as a mother. Though she was a fan of Hindi films in her teens, she did not think about an acting career in Hindi films. Her first preference was to complete her higher education in keeping with her family tradition. But her fate was written to be an actress.

Chand Usmani (Full name: Chandbibi Khanam Usmani) was born in a well-educated Pathan family in Agra. After completion of her Matriculation examination in 1949, she came to Mumbai on holiday and was staying with her relatives. During her stay in Mumbai, she saw an advertisement of the Kardar-Kolynos-Teresa Talent Contest which she participated just for a fun. She was surprised when she was selected for the participation in the contest. She was more surprised when, in the final round, she was selected as a runner-up in the contest. Producer-director A R Kardar was one of the sponsors and judges for the contest.

Even though Chand Usmani was a runner-up in the contest, A R Kardar was impressed by her presentations in the contest. He offered her the lead role in ‘Jeewan Jyoti (1953) produced by him and directed by Mahesh Kaul. Her lead actor was Shammi Kapoor for whom it was his debut film as well. The film was a box office failure but Chand Usmani’s role of a suffering wife was appreciated by the critiques.

I had watched Chand Usmani’s debut film ‘Jeewan Jyoti’ (1953) a few years back. Her performance in the role of a suffering wife of Shammi Kapoor was so natural that it did not occur to me at that time that this was her first film. With this film, Chand Usmani got type-casted for the role of a suffering wife and a suffering sister in almost all of her subsequent films of 1950s. She was a discarded wife in otherwise light comedy film, ‘Baraati’ (1954), a suffering beloved of Bharat Bhushan and a sister of villain Pran in ‘Amaanat’ (1955), an innocent flower girl in ‘Baap Re Baap’ (1955), a blind girl in ‘Rangeen Raaten’ (1956), Dilip Kumar’s sister in ‘Naya Daur’ (1957) and Rajendra Kumar’s sister in ‘Do Behanen’ (1959).

Some of the melodious songs pictuirsed on Chand Usmani in her films of 1950s in which she had lead/second lead roles are as under:

Film Song Singer
Jeewan Jyoti (1953) tasweeren banti hai kiranon se chhanti hain Asha Bhosle-Shammi Kapoor
Baaraati (1954) aa phir se mere pyaar ki kismat sanwaar de Lata Mangeshkar
Amaanat (1955) meri wafaayen tumhaari jafaayen Asha Bhosle
Baap Re Baap (1955) raat rangeeli chamke taare aaja sajanwaa Asha Bhosle
Rangeen Raaten (1956) ham jaage jag soye ri aali Lata Mangeshkar
Do Bahenen (1959) jhuk jhuk jhola khaaye re badariya Lata Mangeshkar -Mahendra Kapoor

Chand Usmani’s early films in which she got lead roles did not fare well at the box office except ‘Baap Re Baap’ (1955). She had to switch over to supporting roles by the end of the 1950s and thereafter. Some of her films in the 1960s with supporting roles were ‘April Fool ‘(1964), ‘Haqeeqat’ (1964), ‘Kohra’ (1964), ‘Anita’ (1967), ‘Khilona’ (1970), ‘Pehchaan’ (1970), ‘Khel Khel Mein’ (1975), ‘Kaadambari’ (1976), ‘Yaaraana’ (1981) etc. She got the Filmfare Award for the best supporting actor for her role in ‘Pehchaan’ (1970). From mid-70s through 80s, she did elderly roles.

Chand Usmani had a long and active filmy career till her last, spanning over 3 decades during which she worked in around 125 films. Her last released film was ‘Lohe Ke Haath’ (1990) though a couple of her delayed films were released later than 1990.

In an old interview of her in the TV programme, ‘Phool Khile Hain Gulshan Gulshan’, Tabassum had ‘chided’ Chand Usmani that she did not do any ‘acting’ in most of her films because she was in reality depicting her own personality. This may be the reason that in most of her films, Chand Usmani’s performances looked natural and convincing. Even in the midst of acting as a suffering woman, she portrays the role of a warm-hearted person with her innocent smiles. In the same interview, Chand Usmani said that she had two regrets which remained with her throughout in her life. First, she did not complete her higher education and second, she did not get chance to do variety of roles in the films.

Chand Usmani was acquainted with Mukul Dutt, when she was working in Bimal Roy’s ‘Prem Patra’ (1962) for which he was Assistant Director to Bimal Roy. Subsequently, they got married. Mukul Dutt directed box office hit films like ‘Aan Milo Sajna’ (1970), ‘Raaste Ka Pathhar’ (1972), ‘Chhalia’ (1973), etc. However, he could not carry the success as director in his subsequent films. He also intermittently worked as lyricists in many Bangla films during 1965-2002.

Chand Usmani died of cancer on November 26, 1989 at the age of 56 leaving behind her son and the husband.

On the occasion of 33rd Remembrance Day of Chand Usmani, I am presenting a song, ‘matwaali muraliya baaji re aadhi raat’ which is picturised on her in the film ‘Zindagi Aur Hum’ (1962). The song is rendered by Lata Mangeshkar on the words of Pandit Shivkumar which is set to music by Roshan.

I like the picturization of the song which gives me a feel of a real rural atmosphere. Just observe how natural Chand Usmani looks while throwing grains to pigeons.

In the beginning of the song under discussion, actors who appears on the screen are Naina, Dinesh and thereafter Nalini Jaywant. When prelude music is played, the song heard in the background is the theme song of the film which is intermittently heard in the background in low sound. The tune of the song under discussion is melodic and both the prelude as well as the interlude music are in keeping with the devotional mood of the song.

With this song, all the six songs (including a two-part song) of ‘Zindagi Aur Hum’ (1962) have been covered in the Blog.

Video Clip:

Song-Matwaali muraliyaa baaji re aadhi raat (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shiv Kumar, MD-Roshan

Lyrics

matwaali muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat

soyi thhi main apni atariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
chaunk padi ho
chaunk padi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat

soyi gaam soyi gaam ki galiyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangreliyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangraliyaan
dhoom machi ho
dhoom machi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
le gayi sudh budh chheen muraliya
kar gayi mann ko leen (?) muraliya
jaadu bhari ho
jaadu bhari aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat


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 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 :

4504 Post No. : 16044

Today, November 16th 2020 is the 53rd Remembrance Day of the music director, Roshan Lal Nagrath (14/07/1917 – 16/11/1967). In 1951, he had composed teri duniya mein dil lagta nahi waapas bula le for ‘Baawre Nain’ (1951).The Almighty seemed to have taken his composition seriously and snatched him away from us early at the age of 50.

Most of Roshan’s song compositions were like poems woven in Hindustani classical music. This was but natural because firstly, he was trained in Hindustani classical music in Marris College of Music (now Bhatkhande Music Institute) in Lucknow in the 1930s. During the same period, he had also learnt Sarod from Ustad Allauddin Khan and later learnt Dilruba/Esraj on his own. Secondly, he worked with illustrious lyricists who were also poets, like Kidar Sharma, Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri, Shakeel Badayuni, Neeraj, Bharat Vyas, Kavi Pradeep etc.

In 1940, Roshan joined All India Radio (AIR), Delhi as a musician where he came into contact with Khurshid Anwar who had joined AIR as Music Programme Producer in 1939. Roshan worked in AIR for about 8 years during which he got the rich experience as a musician for all types of semi-classical music like thumris, dadras, ghazals, qawwalis and also the folk songs. During his stint in AIR, Roshan got married to Ira Moitra who was a regular singer at AIR, Delhi.

In 1948, Roshan decided to shift to Mumbai to try a career in Hindi film industry as a music director. Due to his wife Ira Roshan’s acquaintance with Anil Biswas, Roshan got the first-hand exposure of composing songs for films from Anil Biswas by attending his song recordings. During this period, he also worked with his erstwhile AIR colleague, music director Khurshid Anwar as his music assistant for ‘Singaar’ (1949). After this assignment, it was struggling days for him as he did not have any assignment.

Roshan met Kidar Sharma, producer-director, who had already announced his film, ‘Neki Aur Badi’ (1949) with Snehal Bhatkar as the music director. He found Roshan to be musically talented person. Knowing that Roshan was going through hard days, Kidar Sharma decided to entrust the work of music direction to him with the consent of Snehal Bhatkar. [Incidentally, for ‘Gunaah’ (1953), after one song, Kidar Sharma had replaced Roshan with his consent and entrusted the music direction to Snehal Bhatkar]. Unfortunately, ‘Neki Aur Badi’ (1949) badly flopped at the box office. Roshan was devasted and went into depression. Again, Kidar Sharma came to his rescue and entrusted him the music direction of his next film ‘Baawre Nain’ (1950).

The box office success of ‘Baawre Nain’ (1950) with almost all the 9 songs in the film becoming popular, established Roshan as a successful music director. This success was followed by ‘Ham Log’ (1951), ‘Malhar’ (1951), ‘Anhonee’ (1952), ‘Naubahaar’ (1952), Chaandni Chowk’ (1954) etc. Roshan did not have a good success in the second half of 1950s as a result of which he had taken some ‘B’ grade films’ assignments. In the 1960s, like ‘Baawre Nain’ (1950), Roshan started with ‘Barsaat Ki Raat’ (1960) which become one of the biggest block busters of 1960 with all its songs becoming popular.

Career-wise, 1960s were the best period for Roshan. He had a spate of musical successes in ‘Aarati’ (1962), ‘Taj Mahal’ (1963), ‘Dil Hi To Hai’ (1963), ‘Chitralekha’ (1964), ‘Dooj Ka Chaand’ (1964), ‘Bheegi Raat’ (1965), ‘Mamta’ (1966), ‘Bahu Begum’ (1967), ‘Anokhi Raat’ (1967) etc.

Mukesh was a friend of Roshan during their Delhi days in the early 40s. With Raj Kapoor in ‘Baawre Nain’ (1950), Mukesh was the obvious choice to sing for Raj Kapoor under his music direction. One can say that it was with Mukesh Roshan started his musical success in ‘Baawre Nain’, ‘Malhaar’ (1951) and ‘Hum Log’ (1951). Incidentally, when Mukesh produced his first film ‘Malhaar’ (1951), he entrusted the music direction to his friend Roshan.

Following the contractual obligation for Mukesh under which he could not sing songs for any other films during the making of ‘Maashooka’ (1953) in which he was the lead actor, Roshan’s collaboration with Mohammed Rafi among other male playback singers began to a greater extent than the earlier period. During 1953-56, Mukesh was concentrating mainly in his acting career and so was Talat Mehmood. This gave Rafi an opportunity to consolidate his collaboration with other music directors. In due course of time, Rafi’s collaboration with Roshan rose to such an extent that post 1954, Rafi became the main male playback singer for Roshan and sang most of the songs for Roshan among the male playback singers. . Among the female playback singers, obviousely, Lata Mangeshkar was Roshan’s main singer followed by Asha Bhosle.

Interestingly, Roshan’s musical career really took off with his association with Mukesh in Baawre Nain’ (1950) and ended with Mukesh in Roshan’s last film, ‘Anokhi Raat’ (1968).

The discussion on Roshan would remain incomplete without discussing his role in making the filmy qawwalis popular. If Madan Mohan was regarded as the king in the musical compositions of ghazals, Roshan was the king of the musical compositions of qawwalis. In ‘Chaandni Chowk’ (1954), Roshan composed his first qawaali – an all ladies qawwali ‘har baat puchhiye ye haqeeqat na puchhiye’. But his most popular qawwalis came from the pen of Sahir Ludhainvi in ‘Baabar’ (1960), Barsaat Ki Raat’ (1960), ‘Dil Hi To Hai’ (1963), ‘Taj Mahal’ (1963) and ‘Bahu Begum’ (1967).

The piece de resistance among the filmy qawwalis both for Roshan and Sahir Ludhianvi is the immortal na to kaarwaan ki talash hai ……ye ishq ishq hai from ‘Barsaat Ki Raat’ (1960). This is an unique qawwali. To the best of my knowledge, it is Hindi’s films’ longest qawwali (12minutes). It is the only filmy qawwali in which apart from Urdu/Persian/Hindi words, 4 lines in Punjabi and few words in Brijbhasha have been used. It is the only filmy qawwali in which an extensive definition of ‘ishq’ has been outlined to include not only the Sufiyana tradition of love towards God but also the spiritual love of Radha-Krishna, Meerabai, Seeta and Ram, Lord Buddha, Masiha among others. This type of qawwalis can only happen in India beacuse of its composite culture. Both Roshan and Sahir Ludhianvi had spent their formative stages of life in the neighbourhood of muslims and Hindu/Sikhs, respectively.

For Roshan, it was a challenging work to sustain the audience and listeners’ interest in 12-minute qawwali especially at a time when people had no patience to listen to even 3-minute songs in the theatres. It was the ingenuity of Roshan that he composed the qawwali, dividing in three broad segments with varying melodies and rhythms and ending with fast tempo and crescendo. It is also a qawwali in which five playback singers lent their voices – Manna Dey, S D Batish, Asha Bhosle, Sudha Malhotra and Mohammed Rafi.

During his filmy career (1949-1967), Roshan composed around 435 songs in 58 films of which the Blog has covered 347 songs as of date.

On the occasion of the 53rd Remembrance Day of Roshan, I am presenting a melodious song, ‘chheen liya beimaan mera dil’ from ‘Zindagi Aur Hum’ (1962). The song is sung by Lata Mangeshkar and is picturised on Nalini Jaywant. The words are of Pandit Shivkumar which have been set to music by Roshan. Apparently, the tune of the song is inspired from Roshan’s own song, saari saari raat teri yaad sataaye.

Video link:

Audio link:

Song-Chheen liya re beimaan mera dil (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shivkumar, MD-Roshan

Lyrics

chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil
chheen liya re beimaan

sona na maanga roopa na manga
nahin maanga dhan dhaan ho o
jaadu ki joro baandhi najariya
kar diye bekal praan ho o
kar diye bekal praan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil

champa na maanga
chameli na maangi
na rang ras ki khaan ho o
tere ishaare pe bagiya ki bagiya
kar deti kurbaan ho o
kar deti kurbaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil

naam na jaanoon
gaam na jaanoon
na pehli pehchaan ho o
kaise tikaa loon kaise nikaaloon
shaam ka tu mehmaan ho o
shaam ka tu mehmaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil


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 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 :

4497 Post No. : 16030

‘Zindagi Aur Hum’ (1962) was produced by Rashid Parwez and was directed by Pandit Anandkumar. The star cast included Nalini Jaywant, Chand Usmani, Naina, Dinesh, David, Leela Mishra, S Nazir, Mukri, Amar, Jagdish Kanwal, Chandabai, Anwaribai etc. The story was written by Pandit Shivkumar who was the elder brother of Pandit Anandkumar. Pandit Shivkumar also wrote lyrics for 5 of the 6 songs. It was a last film for Pandit Anandkumar as a director though he continued to write screen-play and dialogues for few more subsequent films. It was also the last film for Pandit Shivkumar if I go by the tribute given to him in the credit title of the film.

The highlight of the film is that a major part of the story revolves around the three main actresses – Nalini Jaywant, Chand Usmani and Naina. Hence, the six songs in the film were rendered by Lata Mangeshkar who has lip synced for all the three main actresses in the film. All the 6 songs (of which one song has two versions – solo version by Lata and duet version by Suman Kalyanpur and Sudha Malhotra) are very melodious. I am surprised as to why these songs set to music by Roshan are not as well-known as his equivalent songs in other films. As usual, the reason was that the film failed at the box office.

The DVD of the film is available on one of the video sharing platforms. Unfortunately, the film is heavily edited as a result of which there is some problems with the continuity of the story. With this limitation, I am attempting to present a gist of the story of the film below:

Chaudhari Niranjan Singh (S. Nazir) is a wealthy and a powerful landlord having two daughters – Tulsi (Chand Usmani) and Surajmukhi (Naina). In the neighbouhood, Kaudi (Nalini Jaywant) stays with her widowed mother (Leela Mishra). Tulsi, Surajmukhi and Kaudi are friends and they spend most of their time together. They always have some teasing sessions. In one of such sessions about their life partners, Surajmukhi’s says that she would marry a man of her choice while Tulsi says that she would marry a boy as per her father’s wishes. Kaudi on the other hand says that she would never marry in her life. But their fate is written something else.

There is a secret in Chaudhari Niranjan’s life. In the younger days, he had an affair with a widowed girl with whom he had a child out of wedlock. For the sake of family prestige, both the widowed girl and Chaudhari Niranjan decide to keep this as a secret. That child was none other than Tulsi and the widowed mother was also Kaudi’s mother.

After some years, Choudhari Niranjan plans for marrying Tulsi with a boy from his own community. He had selected Sujaan Singh, the son of his close friend as a bridegroom for Tulsi. Chaudhary Niranjan’s community leaders are against this marriage due to Tulsi being a child out of wedlock. But Choudhari goes ahead with the marriage. On the wedding day, when the couple were returning after the marriage, Sujaan is shot dead (probably akin to a honour killing). Tulsi returns to her home as a widow.

After some time, Manvir Singh (Dinesh, who has a double role in the film) along with his father (David) comes to Kaudi’s house for a temporary stay. Manvir Singh has returned from abroad after completing his education. The family had known each other. What surprises everyone is that Manvir Singh resembles Sujaan Singh. Being a guest in Kaudi’s house, both Manvir Singh and Kaudi have some ‘nonk-jhonk’ (light teasing arguments). In this process, Kaudi develops liking for him. Both Tulsi and Surajmukhi had been the childhood friends of Manvir Singh as his father was a friend of Chaudhari Niranjan.

In the meanwhile, Chaudhuri Niranjan is looking for a bridegroom for his second daughter, Surajmukhi and he has already selected Manvir Singh. Surajmukhi is happy about her father’s selection as she also secretly loves him. During the discussion with Manvir Singh’s father, Chaudhary offers 50 acres of land as a dowry which he raises to 100 acres. But Manvir Singh declines to marry a girl on the strength of her father’s money power.

Ever since Manvir Singh has come to stay in Kaudi’s house as a guest, Tulsi gets to see him often. But whenever she sees him or hears when he plays his flute, she gets convulsion and falls on the ground injuring herself. She thinks that her husband Sujaan has resurfaced. Both Kaudi and Surajmukhi tries to convince Tulsi that it is her illusion as he is not Sujaan. But she is not convinced. In this milieu, a situation develops in which all the three girls, Tulsi, Surajmukhi and Kaudi secretly love Manvir Singh but there is no reciprocation from his side to any one of them.

In the meanwhile, in the greed of getting 100 acres of land from Chaudhari Niranjan as dowry for marrying Surajmukhu, Manvir Singh’s father pressurizes the son to agree to marry her. In disgust, Manver Singh leaves the house to meet Chaudhary Niranjan in his mansion. After seeing him, Chaudhari Niranajan is perplexed as he is also surprise to find him resembling Sujaan. Manvir Singh makes it very clear to Chaudhari Niranjan that he has come with intention of his marriage with Tulsi after coming to know of unfortunate events in her life. Chaudhari Niranjan gets angry on Manvir Singh and ask him to leave. Surajmukhi secretly hears this conversation. This news also goes to Tulsi also who show happiness. Later Manvir Singh meets Tulsi to get her nod for the marriage. But after seeing him, she once again gets convulsion from which she does not recover and dies.

With this incidence, Surajmukhi decides to leave her father’s house as she does not need any worldly pleasure. However, Manvir’s father persuades her to return for his own vested interest to getting a fat dowry. Both Chaudhary Niranjan and Manvir Singh’s greedy father think that deck is now cleared for marriage of Surajmukhi with Manvir Singh. But there is a twist in the tale. When all of them arrive at Kaudi’s house, they find that Manvir Singh has already married to Kaudi. After some arguments, wiser counsel prevails on Chaudhari Niranjan Singh and with the consent of Surajmukhi, he agrees to formally get Kaudi married to Manvir Singh at his expenses in his haveli as a penance for his daughter Tulsi.

The film has an unusual story line in the genre of family drama. Pandit Shivkumar’s dialogues are crisp without using long monologues. The language used in the dialogues is a mix of high-sounding Hindi and Urdu words and sounds quite different from the usual ‘Hindustani’ used in the family drama. All the main actors in the film including the new comers Naina and Dinesh have given good performances. For Director Pandit Anandkumar and music director, Roshan, the film is their repeat performances in ‘Naubahaar’ (1952) in regards to the music composition of the songs and the picturization thereof.

Despite good story, good performances by the main actors and melodious songs, why did the film failed to score on the box offices? In my view, the film did not have ‘star value’ in the sense that barring Nalini Jaywant who was already on a declining trajectory on her acting career, none of the other actors had the capacity to attract the cinegoers. There were also no box-office ‘ingredients’ like villain, mujra dances, fights etc. Even the role of Chaudhari Niranjan as the landlord had no villainous character and hence no mujra dances and fights.

‘Zindagi Aur Hum’ (1962) had 6 songs, including a double version song of which 3 songs have been covered in the Blog. I am presenting the 4th song, jaa re jaa re meri chhod chunariya, sung by Lata Mangeshkar to appear on the Blog. The song is written by Pandit Shivkumar which is set to music by Roshan. The song is picturised on Nalini Jaywant.

I have come across on the internet at many places that Shiv Kumar Saroj has been accredited to the songs of this film except one song which is written by Veer Mohammed Puri. However, I have gone by the name given in the credit title which is ‘Pandit Shivkumar’.

I feel that Shiv Kumar Saroj who was a well-known announcer with Radio Ceylon during 1959-68 is a different person than Pandit Shivkumar. It is evident from the credit title of the film where it is mentioned that the film is dedicated to Pandit Shivkumar who could not see his visions realised. This indicates that at the time of release of the film, he was not alive to see his film which he wrote. Pandit Shivkumar started his filmy career in mid 1930s with Prabhat Film Company as writer. Later, his younger brother Pandit Anandkumar joined him. Shiv Kumar Saroj occasionally wrote lyrics for films from 1966 (Naag Mandir) till about mid-1980s.

With this song, only two songs from the film are left to be covered which I propose to cover in my next set of articles slated for this month.

Video Clip:

Audio Clip:

Song-Jaa re jaa re meri chhod chunariya (Zindagi aur Hum)(1962) Singer-Lata, Lyrics-Pt Shiv Kumar, MD-Roshan

Lyrics(Based on Video Clip)

jaa re jaa re meri chhod chunariya
ab main nyaari jhooloongi
jhooloongi
jaa re jaa re meri chhod chunariya

tere kaaran jhoola daala
naihar ki amraai
teri preet ke geet alaape
koyal sun sharmaayi
ae ri ae ri mujhe
ae ri ae ri mujhe laagi najariya
ab main nyaari jhooloongi ee
jhooloongi
jaa re jaa re meri chhod chunariya

bhaav ki daali chaav ki aali
prem dor latkaayi
bhaav na jaana chaav na jaana
jhonka de jhatkaayi
ae ri ae ri mujhe
ae ri ae ri mujhe aayi sooratiya
ab main nyaari jhooloongi
jhooloongi
jaa re jaa re meri chhod chunariya

toone aisa jaadu daala
sab sudh budh bisraayi
tere rang mein rang liya baana
ban thhan kar itraayi
ae ri ae ri main to
ae ri ae ri main to bhooli dagariya
ab main nyaari jhooloongi ee
jhooloongi
jaa re jaa re meri chhod chunariya
ab main nyaari jhooloongi ee
jhooloongi


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 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 :

4477 Post No. : 15983

I wonder why Guru Dutt (09/07/1925 – 10/10/1964) who till 1958, had acted in lead roles in films of his own banner only, decided to act in films outside his banner. His first film outside his banner in a lead role was ’12 O Clock’ (1958) followed by ‘Sautela Bhai’ (1962), ‘Bharosa’ (1963), ‘Bahurani’ (1963), ‘Suhaagan’ (1964) and ‘Saanjh Aur Savera’ (1964). While his first film outside his banner as a lead actor may be an aberration, some of his later films as an actor outside his banner may probably have been out of financial compulsion following the box office failure of his film ‘Kaagaz Ke Phool’ (1959).

There is always hidden desire of any intellectual film director to direct a film on a story of his choice and on his terms. But very few producer/financier would agree to produce/finance such a film from the point of view of the commercial consideration. For Guru Dutt, ‘Pyaasa’ (1957) and ‘Kaagaz Ke Phool’ (1959) were two such films which he was keen to bring them to the notice of the film audience.

I came to know from an article by Nasreen Muni Kabir in https://scroll.in that the idea of making ‘Pyaasa’ (1957) had virtually begun in 1948 when Guru Dutt had written a story out of the frustration when he came to Mumbai in 1948. The post-partition period was difficult to adjust to a new environment. It was also difficult for the Padukone family to sustain in a big city without work. And Guru Dutt was not getting film offers. So, he wrote the story titled ‘Kashmakash’ making a poet the protagonist who faces the problem in getting his poems published. The story remained in the limbo until he established himself as a film director of repute.

In 1951, in the wake of his commercially hit film, ‘Baazi’ (1951) for which Sahir Ludhianvi had written popular songs, Guru Dutt had become a successful film director. I remember to have watched an interview of a film celebrity during its B/W avatar (I do not recall now as to who was the film celebrity). That film celebrity mentioned that during the making of Baazi’ (1951), Sahir Ludhianvi had given to Guru Dutt a copy of his collections of poems ‘Talkhiyaan’ (1944). Guru Dutt was very much impressed with a couple of nazms which included ‘jinhe naaz hai Hind par wo kahaan hai’. This nazm matched with the gloom of a poet in his story. Guru Dutt had decided to include this nazm whenever he makes the film based on his story, ‘Kashmakash’.

Since Guru Dutt was not sure of getting producer or financier for such a film and also the response on the box office due to gloomy nature of the story, he felt that he will have to take the financial risk in producing the film. For that he required his own resources to make the film as a producer. This explains as to why Guru Dutt, in the meanwhile, concentrated on making saleable light comedy films like ‘Aar Paar’ (1954) and ‘Mr and Mrs 55’ (1955) to fill his coppers for producing a film on a subject for which box office outlook was uncertain.

Abrar Alvi, in Satya Saran’s book ’10 years with Guru Dutt’ (2008) has mentioned that during one of the shooting schedules of ‘Mr and Mrs 55’ he narrated the story of a real life Gulabo, a courtesan to Guru Dutt which fascinated him to give a shape to his story, ‘Kashmakash’. In the meanwhile, he got busy with producing ‘C.I.D’ (1956) which also got the tremendous success at the box office. Now, Guru Dutt was ready to produce and direct the film of his choice. ‘Kashmakash’ became ‘Pyaasa’ (1957). Contrary to Guru Dutt’s expectation, ‘Pyaasa’ (1957) did good business at the box office and also got critics’ appreciation.

Probably, the success of ‘Pyaasa’ (1957) gave Guru Dutt a confidence in producing another of his favourite gloomy subject. That the fame and glamour attached to a successful film director has its cost in terms of personal spaces. A single failure would wipe out all the gains of a successful director earned over the years. A commercial failure would get more highlighted than the appreciation of his brilliant work of the past. The box office failure of ‘Kaagaz Ke Phool’ (1959) overshadowed the brilliant work as a director. What hurt Guru Dutt most was not the box office failure but the way the critics slammed him as narcissist and as his own biopic. After a gap of over a decade, Guru Dutt’s box office disaster got recognition as one of the greatest classic Hindi films.

The box office failure of ‘Kaagaz Ke Phool’ (1959) has affected the banner, Guru Dutt Films financially. There was not enough money to sustain the staff of Guru Dutt Films. It is during this time, Guru Dutt seems to have found a way of raising funds by acting in the films made outside his own banner during 1962-64. He also took the decision not to direct any films in future. His next two films under his own banner – ‘Chaudhavin Ka Chaand’ (1960) and ‘Sahab Bibi Aur Ghulam’ (1962) became box office hits, redeeming his film production banners.

‘Sautela Bhai’ (1962) was his first film in a lead role outside his banner after the debacle of ‘Kaagaz Ke Phool’ (1959). The film was directed by Mahesh Kaul. The main star cast included Guru Dutt, Pranoti Ghosh, Bipin Gupta, Rajkumar, Kanhaiyailal, Asit Sen, Bela Bose, Rani, Jeevankala, Radheshyam, etc. The film was based on a story, ‘Baikunther Will’ by Sharatchandra Chattopadhyay.

So far, 4 songs out of 8 from the film have been covered on the Blog. Here is the 5th song, ‘ab laagi naahin chute raama chaahe jiya jaaye’ from ‘Sautela Bhai’ (1962) which is presented here. The song is sung by Lata Mangeshkar and Meena Kapoor on the dancers, Rani and Jeevankala, respectively. There is also a male voice in a couple of lines in the song which, I feel, is that of the music director, Anil Biswas. The song was written by Shailendra.

Half-way through the dance, Guru Dutt makes a surprise entry and finds that his step brother (I guess, he is Rajkumar Jr.) is drunk and seen in the midst of the dancers. In a fit of rage, Guru Dutt assaults him. Some of patrons push Guru Dutt out of the courtesan’s house after which the singing and dancing resume.

Video Clip:

Audio Clip:

Song-Laagi naahin chhoote raam chaahe jiya jaaye (Saautela Bhai)(1962) Singers-Lata, Meena Kapoor, Anil Biswas, Lyrics-Shailendra, MD-Anil Biswas
Lata Mangeshkar + Meena Kapoor
Unknown male voice

Lyrics(based on video clip)

ab laagi naahi chhoote raam
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa…m aam
chaahe jiya jaaye

waade ae ae kaa tere kisko bhala
o bhala aitbaar thha aa

phir bhi tamaam raat piya intzaar thhaa
khaamoshiyon mein har kisi aahat pe chaunk kar
aji aahat pe chaunk kar
kisi aahat pe chaunk kar
kehna mere is dil ka yahi
yahi
baar baar thha aa aa aa
kya
ae pare hatt
ke laagi naahi chhoote raa aam
chaahe jiya jaaye raa..m
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa.. aa aam
chaahe jiya jaaye

yoon hi raha jo teri wafa
ho jafaaon ka Silsila aa
niraash hoke toot hi jaayega dil mera
kya gujri mujhpe
tum ye kisi se na poochhna
kisi se na poochhna
kisi se na poochna

sun lena meri kabr se ae
aayegi ye sada aa aa
kya
ke laagi naahi chhoote raa. aa aam
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa….. aa aa aam
chaahe jiya

[Interruption in dances]

aa aa aa
aa aa aa aaa
ek maazra sunaata hoon main husn ishq ka

waah

[dialogues]

lekin wo dono kabron se aati thhi yeh sada
kya
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

aaha
subhaan allah

laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
ah ah ah
waah waah jiyo


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 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 :

4476 Post No. : 15980

Today, October 19, 2020 is the 25th Remembrance Day of Baby Naaz, one of the super child artists of Hindi films who has enthralled the Hindi cinema buffs with her memorable roles. She was a destitute child in ‘Boot Polish’ (1954), the young Paro in ‘Devdas’ (1955), an orphan girl in ‘Do Phool’ (1958), a teenage daughter caught in the marital discord of her parents, Guru Dutt and Veena in ‘Kaagaz Ke Phool’ (1959) and many more roles.

Baby Naaz’s life from her childhood days to teenager has been traumatic and unhappy. Baby Naaz’s undated interview which appeared in ‘Stardust’ magazine sometime in mid-1970 is an indication of how a child has been exploited by her mother by pushing her into Hindi films as a child artist depriving her of schooling and a good childhood to make the family’s life comfortable. In today’s world, Baby Naaz’s case would come in the ambit of child abuse by her mother. From the age of 4, she has been the bread winner for her family when she started performing as a dancer on the road side stage shows. At the age of 8, she became a child artist in Hindi films which continued till her adulthood. In this process, Baby Naaz struggled with her 3-4 shifts of shooting a day depriving her of a normal childhood.

Based on Naaz’s interview mentioned above and also on Khalid Mohamed’s article in ‘The Daily Eyes’- July 8, 2020 and an article which appeared in December 29, 2017 issue of ‘Jansatta’, the life story of Naaz has been sumarised below:

Baby Naaz, (Real name: Salma Baig) was born in Mumbai on 20/08/1944 in a poor family. Her father, Mirza Dawood Baig was a story writer who was trying his luck to sell his stories for Hindi films but was unsuccessful. He remained unemployed beside being a sickly person. Baby Naaz’s mother was an ambitious lady who pushed Baby Naaz to Hindi films as a child artist so that with her income, she can run the house and have a comfortable life. Her father was against his daughter working in the film. But due to the extreme financial problem faced by the family, he reluctantly agreed to his friend, Lekhraj Bhakri’s request to let her do a childhood role of Suraiya in ‘Resham’ (1952). Salma Baig was given a screen name, ‘Baby Naaz’.

Due to her busy shooting schedules, Baby Naaz could not attend the school regularly for which she was rusticated. For the same reason, she had no time for enjoying her childhood. On the other hand, there was constant fights between her father and mother. Deprived of a normal childhood with love and affection from her parents, Baby Naaz twice attempted suicide by jumping into a well at the age of 10 but was saved by her maid servant.

When Naaz was 12, her parents separated and she started living with her mother. About 4 years later, her mother remarried to a film cameraman and shifted to her husband’s house. Slowly, she realised that she was the sole bread winner not only for her mother but also for her lover who had now become her step-father.

Baby Naaz came into limelight as a child artist in ‘Boot Polish’ (1954) in which she played the role of a destitute child along with Master Rattan. She enacted the emotional scenes as well as comedy acts very well. The film was shown in Cannes’ International Film Festival in 1955 where both Baby Naaz and Master Rattan were tied to receive the special commendations from the Jury. With this, Baby Naaz became the most sought-after child artist and worked in a spate of films during 1954-59. Around 1960 onwards, Naaz started getting roles as a major, mostly as a character actor though in a few films, she had also got the lead roles in ‘B’ grade films.

During the shooting of ‘Mera Ghar Mere Bachche’ (1960), Naaz became close to Subbiraj, a nephew of Prithviraj Kapoor. Both of them had the second lead roles and decided to convert their closeness into a marriage. However, families from both sides were against this marriage. Their courtship continued for 5 years. It was during the shooting of ‘Dekha Pyaar Tumhaara’ (1963), in which they were in the lead roles, they got married during the outdoor shooting of the film in Pratapgarh Fort. They returned to Mumbai as a married couple.

After the marriage, Naaz felt for the first time that she had got the love and affection which she had missed in her childhood. After the marriage, Naaz had to cut down her assignments in the films due to household responsibilities. In the 1970s, she started working with Kalyanji-Anandji for their musical programmes as a compere. In the 1980s, she almost stopped acting in the films as she had become a dubbing artist for some actresses from the south especially for Sridevi.

After a traumatic childhood and teens, Naaz was happy with her married life. When the time came for her to enjoy a life of contentment with her husband and two children, a tragedy struck in her life. In 1995, Naaz was diagnosed with cancer which was on a terminal stage. She breathed her last on October 19, 1995 when she was 51.

Baby Naaz worked in around 125 Hindi films during 1952-86 of which she worked as a child artist in about 50 films. In the 1960s, Naaz got opportunity to work as a lead/second lead actor in ‘Lambe Haath’ (1960), ‘Mera Ghar Mere Bachche’ (1960), ‘Gangu’ (1962), ‘Dekha Pyaar Tumhaara’ (1963), ‘Chaar Darvesh’ (1964), ‘Rocket Girl’ (1965) and Chhaila Babu’ (1967). However, these films did not do well at the box office.

After her marriage in 1963, Naaz restricted her film appearances by choosing the films in which the roles interested her. I find that post-marriage, most of the films in which she acted belonged to big banners and under good directors like M Sadiq in ‘Bahu Begum’ (1967), Sateyn Bose in ‘Raat Aur Din’ (1967), Lekh Tandon in ‘Jahaan Pyaar Miley’ (1969), Manmohan Desai in ‘Sachcha Jhootha’ (1970), Dulal Guha in ‘Dushman’ (1972). Hrishikesh Mukherjee in ‘Phir Kab Milogi’ (1974), Asit Sen in ‘Bairaag’ (1976), B R Chopra in ‘Karm’ (1977), Basu Chatterjee in ‘Sheesha’ (1986) etc.

On the occasion of the 25th Remembrance Day of Naaz, I present a song from ‘Gangu’ (1962) which was one of her films with a lead role for her. The film was directed by Promod Chakravarty. The song is ‘kya kaha zara phir kaho’ which is a duet sung by Subir Sen and Geeta Dutt. The song is written by Prem Dhawan is picturised on Chandrashekhar and Naaz which is set to music by Kalyanji-Anandji.

Video Clip:

Audio Clip:

Song-Kya kaha zara phir kaho (Gangu)(1962) Subir Sen, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji

Lyrics

kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho

tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
youn na sataaya karo..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho

ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
duniya se youn na daro..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o


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 :

4437 Post No. : 15878

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 75
———————————————————————————–

This date ten years ago (viz 10 september 2010) saw things going to plan. Six songs were discussed on that day. First post appeared at 7 :35 AM and tghe sixth post was published at 9:42 AM.

Here are the details of the six songs (from six different movies):-

Blog post number Song Movie- Year Remarks
2939 Main dil mein dard basaa laayi Anmol Ghadi 1946 YIPPEED
2940 Hamko tumhaaraa hi aasraa Multiple version song Saajan 1947 YIPPEED
2941 Apni nazar se door wo Bazaar 1949 15 songs covered out of 16. Final song not available
2942 Peechhe peechhe aakar chhoo lo hamen paakar House No 44 1955 YIPPEED
2943 Suljhaao na uljhi zulfon ko Girl’s Hostel 1962 4 songs covered out of 6
2944 Ye jawaani hai deewaani Jawaani Deewaani 1972 YIPPEED

Four out of six movies that were taken up ten years ago on this date have been YIPPEED by now. Out of the remaining two movies, “Baazaar” (1949) has 16 movies and 15 of them are covered,. Thge remaining one song (Nazar se mil hi jaayegi nazar aahista aahistaa) could not be located so far, and therefore tyhis movie is still upYIPPEED.

That leaves us with “Girls’ Hostel”(1962). This movie had made its debut in the blog ten years ago. So far four songs (out of six) have been covered in the blog. Here are their details:-

Song Date
Suljhaao na uljhi zulfon ko 10 september 2010
Ye haseen raat ye bahaar ye samaan 10 December 2010
Bartan kalai karaa lo 20 October 2012
Idhar bhi haseena udhar bhi haseena 4 January 2016

This movie was Produced by Babu Bhai Desai and Ravindra Dave and directed by Ravindra Dave. The movie had Nalini Jaywant, Ajit, Johnny Walker, Shamlal, Chand Burque, Cuckoo, Kanchan, Madhu, Nagpal, Nasreen, Radha Bai, Triza, Ulfat, Tina etc in it.

Today, as “blog Ten Year Challenge”, here is the fifth song from “Girls’ Hostel”(1962) to appear in the blog. The song is sung by Asha Bhonsle. Gulshan Baawra is the lyricist (as can be seen from the label on the record for this song in the link). Music is composed by Ravi.

Only the audio of this rare song is available. Going by the sounds of it, and considering the star cast, this song could well have been picturised on Cuckkoo as a club dance song. I request our knopwledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra.


Song-Main akeli mere dildaar bahot (Girls’ Hostel)(1962) Singer-Asha Bhonsle, Lyrics-Gulshan Bawra, MD-Ravi

Lyrics(Provided by Prakashchandra)

main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aa
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aaa
main akeli mere dildaar bahot

koi kahey mujhpe rehem keejiye
koi kahey aissey na situm kijeeye ae
koi kahey mujhpe rehem keejiye
koi kahey aissey na situm kijeeye
kabhi maine kissi pe qasam se sitam na kiyaa..aaa haayye
main akeli mere dildaar bhhot
ru roo roo roo ru
ru roo roo roo ru

aeyye

jiss ko bhi dekha maine hanske zaraa..aaa
uss ne hi poochha mere ghar ka pataa
jissko bhi dekha maine hanske zaraa
uss ne hi poochha mere ghar ka pata
aissi baatein sun ke ghabraaye mera jiyaa aaa hoyye
main akeli mere dildaar bahot

koi mere kaaley kaaley baalon pe fidaa
koi mere gorey gorey gaalon pe fidaa
koi mere kaaley kaaley baalon pe fidaa
koi mere gorey gorey gaalon pe fida
meri har ek adaa pe zamaana fidaa ho gayaa aaa hoyye
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aaa
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot


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:

4348 Post No. : 15659

Today (13 july 2020) is the birth anniversary of Prem Dhawan (13 june 1923-7 May 2001) Prem Dhawan is mainly known as a lyricist, but he was also a music director as well as an actor and choreographer.

Prem Dhawan made his debut as a lyricist in 1946 with the movie “Dharti Ke Lal”(1946). His last movie as a lyricist was was “Appu Raja”(1989).

He had the distinction of winning the National award for best lyricist in 1971 for his lyrics in Punjabi movie “Nanak Dukhiya Sab Sansaar” (1971). He also received Padma Shree award in 1970.

“Jahaan Daal par par sone ki chidiyaa karti hai basera”, the iconic song from “Sikandar e Azam”(1965) is an iconic song that gets played without fail on 26 januray and 15 august. “Ae watan ae watan” (Shaheed)(1965) and “Mera rang de basanti chola”(Shaheed)(1965) were pennned as well as composed by Prem Dhawan. “Ae mere pyaare watan” (Kaabuliwaala)(1961) was also penned by Prem Dhawan.

It is not that he only penned patriotic songs. He penned songs of all genre that one sees in HFM.”Chandamama door ke”(Vachan)(1955), an iconic mother-child lullaby, was penned by him. “Seene mein sulagte hain armaan (Aarzoo)(1951) was also his creation, as was the case with the folk song extraordinaire-:kaun rang mungwa kaun rang motiya”(Heera Moti)(1959). “Dil ko laakh sambhaala jee (Guest House)(1959), “Do roz mein wo pyaar ka aalam guzar gaya”(Pyaar Ki Raahen)(1959), “Haseen Ho Khuda to nahin ho (Mud Mud Ke an Dekh:(1960), “Dil Hai tera deewaana”(Zimbo Sahhar Mein)(1960), “Teri duniya se hoke majboor chala”(Pavitra Paapi”(1971)- all these were created by Prem Dhawan !

As a choreographer, he was the man behind the dances of “Naya Daur”(1957),”Dhool Ka Phool”(1959), “Waqt”(1965) etc.

The blog has as many as 438 of his songs as a lyricist and 22 of his songs as a composer.

On the occsaion of his berth anniversary, here is a song from “Gangu”(1962). This song is sung by Rafi and Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Kalyanji Anandji.

THe song is picturised on Chandrashekhar and Naaz who are seen driving in a car. Driving as well as a singing simultaneously, it is not advisable, but HFM safety standards have always been lax. 🙂

The lyrics of this song were sent to me by Avinash Scrapwala.

The audio and video versions contain different stanza towards the end.

Video

Audio

Song-Ye gora gora mukhda ye kaala kaala til (Gangu)(1962) Singers-Rafi, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji
Chorus

Lyrics(Provided by Avinash Scrapwala)

Ye gora gora mukhdaa
Ye kaala kaala til
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai humen mil

Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hume mil

Ho ho ho o
O o o ho ho o

Yoon itraa ke
humko lubhaa ke ae
Dil ko churaa ke jaati kahaan ho
Deke ye jhaanse
Jo humen phaanse
Jaayenge hum to
Marzi jahaan ho

Dekho akele na milegi Manzil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai hamen mil

(Not in video)

Ho ho ho ho o
O o o ho ho o

Kaafir adaayein
Zaalim nigaahen
Jaan se mare
Jisko bhi chaahe
Kisne hain rokaa
Abhi hain maukaa
Khaana na dhokha
Bharna na aahen

Milte hi aankhen
Hum huye hain ghaayal
Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hame mil

(Not in audio)

O o o o ho ho o
Aa aa aa ha ha aa
Hawaa jo aayi
Lat lehraayi
Yoon bal khaayi
Ulajh gayi re
Ja re deewaane
Kar na bahaane
Tere nishaane
Samajh gayi re

Phir bhi na jaane tu Hamaari mushqil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hamen mil


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:

4311 Post No. : 15588

Today (7 may 2020) is the 159th birth anniversary of Rabindranath Tagore (7 May 1861- 7 August 1941).

Everyone knows a lot about Gurudev Rabindranath Tagore. He was not just a Nobel Prize winning poet, his acccomplishments, achievements and influence go much more farther than that. Curiously, his influence on our life is often subtle and goes unnoticed. But it is very much there.

He has influenced Indian movies, including Hindi movies as well. He was in fact the person writing the national anthem of India (and subsequently Bangladesh as well). The national anthem of India was already included in a Hindi movie called “Hamraahi”(1945) beore it could become national anthem. So, Gurudev Rabindranath Tagore got credited as a lyricist and music director in this Hindi movie posthumously, but before India could achieve her independence.

Rabindranath Tagore created a modern genre of Bangla music that took elements of Western music (western instruments, western notations etc) and combined it with the traditional folk music of Bangla. This fusion is today known as Rabindrasangeet. He himself created about 2000 songs based on Rabindrasangeet.

While most of these songs were non film songs, quite a few such songs were created for Bangla films. Even some Hindi movies had such songs, where tune remained same but lyrics were translated in Hindi.

The above mentioned “Hamraahi”(1945), which was the Hindi remake of ‘Udayare Pathe’ (1944), has a Bangla Rabindrasangeet song, something which the original Bangla movie did not have ! This song was recently covered by Mr Sadanand Kamath in the blog.

“Maa Beta”(1962) was directed by Lekhraj Bhakri for Tasweeristan, Bombay. This “social” movie had Nirupa Roy, Ameeta, Manoj Kumar, Vijay Dutt, Sheila Ramani, I S Johar, Lalita Pawar, Manmohan Krishna, Tarun Bose, Kumar, Manorama, Leela Mishra, Indra Bansal, Neelam, Shukla, Brahmdutt, Raj Prakash, Madhumati, Shaam Lala etc in it.

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

Here is the fourth song from “Maa Beta” (1962) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Hemant Kumar.

The picturisation shows Nirupa Roy seated on a stage and lip syncing this song while holding a sitar. A lady dressed in Bharatnatyam dancing costume performs a dance on this song. I am unable to identify the dancing lady. I request our knowledgeable to help identify her.

The music is south Indian style, as is the dance. Our regulars may wonder what this song has to do with Rabindra sangeet. It is the lyrics ! The lyrics are a very good translation of the original Bangla Rabindrasangeet song, Momomor megher sangi. Listening to the original Bangla Rabindrasangeet song shows that the tune is entirely different, even though music director is the same, viz Hemant Kumar. Hemant Kumar very wisely decided to use the essence of the lyrics, and created an entirely new tune for the movie, as required by the story line.

I noticed (as I was reminded of it by a few regulars) that today is the remembrance day of Prem Dhawan (13 June 1923- 7 may 2001) as well. So it is quite fortuitous that today we discuss a song that turns put to be a two-in- one tribute for two artists.

So, as a tribute to gurudev Rabindranath Tagore on the occasion of this birth anniversary, and Prem Dhawan on the occasion of his remembrance day, here is a Rabindrasangeet inspired song from the golden era of HFM.


Song-Man mera udta jaaye (Maa Beta)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Hemant Kumar

Lyrics

man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim

aas ke pankh lagaa kar panchhi mastaana
pi ki nagariya aaj chala dil deewaana
aas ke pankh lagaa kar panchhi mastaana
pi ki nagariya aaj chala dil deewaana
ghan ghan baadal garje to kya
cham cham bijli chamke to kya
chanchal man to rukna kahin na jaane re
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim

uthti hain jaise saagar mein
kal kal chhal chhal karti tarangen
uthhti hain jaise saagar mein
kal kal chhal chhal karti tarangen
man mein waise hi jaag rahin
pal pal vyaakul mast umangen
aaj na roko pyaar ke is deewaane ko
haathon se dil jaata hai to jaane do
aaj na roko pyaar ke is deevaane ko
haathon se dil jaata hai to jaane do
tod chala ye bandhan saare
jahaan sajan ka pyaar pukaare
paagal hai man kab ye kisi ki maane re
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4280 Post No. : 15521

In my last article, I had discussed playback singer and actor Shyam Kumar, who has acted in many Hindi films but remained unidentified for most of the Hindi film audience. In this write-up, I am presenting one more such actor who has made us to notice him in many films but remained unsung because he did very small roles in most of the films in which he got opportunity to act – mostly as a sidekick, a henchman, a doctor, barman, hotel manager etc.  Though his roles in most of the films have been very brief say, not be more than 5 minutes duration but whatever he did as an actor in varied roles, it was noticeable to the filmy audience. The actor is Keshav Rana whose face in the films may be familiar to many cine audience but may not be known by his name to them.

I had seen Keshav Rana in some of the films in the late 60s and early 70s during which I was active in watching films almost every week-end but I was not aware of his name.  His acting as a police inspector in ‘Seeta Aur Geeta’ (1972) in a comical situation has still remained in my memory.  I did not know his name until I started collecting the pictures of personalities connected with Hindi films during the last 5-6 years. It was a co-incidence that his image propped up when I was searching for something else. And the image of Keshav Rana emerged as a scene from a film ‘Dillagi’ (1966). That was the beginning of my work to identify him in many more films.

Not much information about the early life of Keshav Rana is available on-line. The only information I know from IMDb is that his full name is Keshav Singh Rana and he belongs to Faizabad in UP. From his filmography, it appears that he came to Mumbai to join the film industry in the later half of 1950s. His first film as an actor was ‘Anjaan’ (1956). His most active years was 1960s and 1970s when he worked in around 50 and 70 films, respectively. On a rough count, Keshav Rana must have worked in around 130 films during 1956-1986.

During the last fortnight, I have seen some important films with Keshav Rana’s  scenes under prominent banners like that of Shakti Samanta, Arjun Hingorani, Ramesh Sippy, J Omprakash, BR Chopra, Prakash Mehra etc. He did a variety of roles in the films but in most of the films, he was moslty typecast as  Police Inspector/Commissioner, Doctor,  Hotel Manager, Barman, a patron of mujra dances etc.  In others films, he mostly performed roles in negative shades and sidekicks to the main actors. Of the films of Keshav Rana, I watched, the only film in which he got a relatively longish role of Puran Bahadur in negative shade of a blackmailer was in ‘Dillagi’ (1966).

Keshav Rana excels in negative roles with a smiling face. But behind his smiling face lies his evil and manipulative designs to blackmail his victims. In this role, he generally avoids fighting and bloodbath in most of his films. He leaves these parts to other henchmen. For example, in films like ‘Dillagi’(1966) and ‘Muqaddar Ka Sikandar’ (1978), he takes out his Rampuri knife but never uses it. Instead, he entrusts his fellow henchmen to fight it out. His light comical roles as a police inspector in ‘Seeta Aur Geeta’ (1972) with Hema Malini (as Geeta) and as a barman in ‘Shaan’ (1980) with Amitabh Bachchan have been well appreciated.

I have uploaded an audio clip incorporating along with the song, the screen shots of scenes in which Keshav Rana appears in some of his important films. Check out the audio link below.

‘Qatl’ (1986) appears to be Keshav Rana’s last film after which he did not act in any film. I could not get any information as to what he did thereafter.

Keshav Rana had played a small role of a patron of a kotha dancer in ‘Ganga Maiya Tohe Piyari Chadhaibo’ (1962), the first Bhojpuri film.  The film was directed by Kundan Kumar. The star cast included Kumkum, Ashim Kumar, Nazir Hussain, Tiwari, Bhagwan Sinha, Helen, Leela Mishra, Kumari Khanna (Padma Khanna) etc. The story, screen-play and dialogues were written by Nazir Hussain. Songs were written by Shailendra which were set to music by Chitrgupt.

I am presenting the song ‘Luk Chhip Badra Mein Chamke Jaise Chanwa’ from the first Bhojpuri film rendered by Lata Mangeshkar and picturised on Kumkum who is dancing for the patron, Keshav Rana.

Listening to the song in audio clip gives a feel of the dance in a nautanki (folk theatre) in the rural Bhojpuri region. And why not? Both Shailendra and Chitragupt hail from Bhojpur region of Bihar.

Video

Audio

Song – Luk Chhip Badra Mein Chamke Jaise Chanwa (Ganga Maiya Tohe Piyari Chadhaibo) (1962) Singer – Lata Mangeshkar, Lyrics – Shailendra, MD – Chitragupt

 

Lyrics

luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
 
sonwa aisan piyar mor rangwa
phoolwa aisan komal mor angwa
sonwa aisan piyar mor rangwa
phoolwa aisan komal mor angwa
hirani aisan kajarwa naina chamke
kajrwa naina chamke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
 
hamri baari umar ladkoriya
bhanwra neha lagaae barjoriya
hamri baari umar ladkoriya
bhanwra neha lagaawe barjoriya
hum t dolat paayaliya mori chhamke
paayaliya mori chhamke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusum re chunariya utar gamke
 
champa phoole chameli phoole bagiya
sudhi na lihale ram balam beragiya
champa phoole chameli phoole bagiya
sudhi na lihale ram balam beragiya
kehu na jaane basela kahunwa ramke
basela kahunwa ramke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke

luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke

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

लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके
लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके

सोनवा ऐसन पियर मोर रंगवा
फुलवा ऐसन कोमल मोर अंगवा
सोनवा ऐसन पियर मोर रंगवा
फुलवा ऐसन कोमल मोर अंगवा
हिरनी ऐसन कजरवा नैना चमके
कजरवा नैना चमके
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके

हमरी बारी उमर लरकोरिया
भंवरा नेहा लगावे बरजोरिया
हमरी बारी उमर लरकोरिया
भंवरा नेहा लगावे बरजोरिया
हम त डोलत पायलिया मोरी छ्मके
पायलिया मोरी छ्मके
मोरा मुख दमके
मोरी कुसुमि रे चुनरिया इतर गमके
मोरी कुसुमि रे चुनरिया इतर गमके

चंपा फूले चमेली फूले बगिया
सुधि न लिहले राम बलम बैरगिया
चंपा फूले चमेली फूले बगिया
सुधि न लिहले राम बलम बैरगिया
केहू न जाने बसेला कहुंवा रमके
बसेला कहुंवा रमके
मोरा मुख दमके
मोरी कुसुमि रे चुनरिया इतर गमके
मोरी कुसुमि रे चुनरिया इतर गमके

लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4257 Post No. : 15478 Movie Count :

4266

———————————————–
Hindi Songs in Bangla Films – 22
———————————————–

‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

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

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16000 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1234
Total Number of movies covered =4388

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