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

Posts Tagged ‘1965


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3554 Post No. : 14261

So, minus 1 and plus 1, we still got to the 100th Yippeee film yesterday.

Minus 1 because on 3rd April, Atul ji had announced the Yippeee-ing of the film ‘Razia Sultan’ (1983), after posting its ‘sixth + seventh’ songs together – an announcement that turned out to be incorrect. Avinash ji pointed out that there is still one more song to be posted from this film. With some more leg work and info-search we now have more detailed info about the song list of this film. Below is the details of the songs of ‘Razia Sultan’ that I had shared with Atul ji the same day, in email.

I just checked the 1981-90  volume compiled by Jagdish Purohit and Ghulam Qureshi, with the involvement of Suman Chaurasia of Indore. This volume was published as the HFM lovers were/are waiting for Hamraaz ji to bring out his next volume.

In this volume, the compilers have listed 12 songs for this film. Since ‘Razia Sultan’ is a well known film, and a landmark in itself, I am sure lots of information sources are available and there is less chance that the compilers would be in error. In a musical film like this, number of songs certainly would not be limited to 6/7.

The list of all songs, as per this volume, is

  1. Ae Dil e Nadaan
  2. Aayi Zanjeer Ki Jhankar
  3. Naghma e Mohabbat
  4. Jalta Hai Badan
  5. Hariyala Banna
  6. Ae Khuda Shukr Tera
  7. Khwaab Ban Kar Koi Aayega
  8. Tera Hijr Mera Naseeb Hai
  9. Taraana e Jashn e Taajpsohi
  10. Shubh Ghadi Aayi Re
  11. Ae Dil e Nadaan (this may be part 2, or a reprisal)
  12. Falak Se Awaaz Hai

As per our blog listing, we have as yet covered 1, 2, 4, 5, 6, 7, 8 and possibly 11. As per the singer list, the songs 9 and 10 seem to important loaded songs; 9 has 4 singers and 10 has 6 singers. Both these songs have Ustad Faiyaaz Ahmed Khan, and Ustad Niaz Ahmed Khan in the list of singers.

Just like maybe Pakeezaah, the remaining songs are probably less heard, less popular ones, which may drop from the collective memory.  You may recall that the non-Ghalib items in Mirza Ghalib (3 in number) remained obscure for quite a long time, since the radio and the radio listening public focused on the Ghalib creations in this film.

So that was minus 1 for 3rd April.

However, Atul ji is quick to also point out that back on 16th Jan, we had actually Yippeee’d two films together on the same day. That had happened, because both Atul ji and I were separately working on two different Yippeee posts, and our communications to each other regarding the posts seemed to have crossed but not read by each other. So in quick succession, both he and I posted two Yippeee songs that day – “Gaadi Dilli Waali Chali” (‘Delhi Junction’, 1960) and “Soyi Soyi Chaandni Hai. . .” (‘Khazaana’, 1951). In his write up, Atul ji has noted that,

Coming to my observations that we need to reiterate our new year resolutions (Gregorian calender version) on new year (Hindu calender version) as well. On the first day of this year (viz Yesterday 15 january 2018), only the first half of the half the resolution (viz posting a debutant song for the day) was fulfilled till late in the night. Sudhir Ji had posted a “debutant” post for the day. I had noticed that he had planned for a “YIPPEE” post as well. But seeing that the “debutant” post had appeared so late, I was afraid that it might become a race against time to fully fulfil the new year resolution. So I decided to lend a helping hand to Sudhir Ji. I prepared this “YIPPEE” writeup and I decided to post it in case Sudhir Ji was strapped for time (which he certainly is these days).

Fortunately, I found that Sudhir Ji succeeded in posting the YIPPEE writeup just in the nick of time yesterday night, and it was that rollicking title song of “China Town”(1962), viz. Rangeen bahaaron se hai gulzaar China Town.

So the song that I had kept as the backup YIPPEE song was not required.

Today (16 january 2018), we find ourself in the same situation as yesterday. The “debutant” movie of the day was done and dusted with first thing in the morning by Sudhir Ji. Sudhir Ji then asked me for the list of YIPPiable movies, aiming to post the YIPPEE movie of today as well, while I concentrated on the O P Nayyar tribute post.

After the O P Nayyar tribute post was published late, I found that Sudhir Ji has prepared for the YIPPEE song of the day, and it was a song that was not available online as far as I can tell. But like last night, we are against racing against time and I do not find Sudhir Ji at the keyboard right now. So I feel that I need to step in and publish the backup YIPPEE song that I had prepared yesterday. That way, Sudhir Ji can publish his YIPPEE article on the next day.

In fact, as Atul ji was hastening to complete the above Yippeee post for that day, I was equally busy on my keyboard, and almost simultaneously – a difference of about 45 minutes, I too posted the Yippeee post for the day, only to realize immediately that the work is now duplicated. So I immediately went back into my post and added this footnote,

[Ed Note: It was only after this song got posted that I took a breather, only to notice that Atul ji has also already welcomed another film (the previous post) to Yippeee-land today. It most certainly seems like the ‘yippeee-ing hour’, what with two films racing to Yippeee-land, just within minutes of each other. 😀 😀 ]

So, the two miscues cancelled each other out, and we are firmly able to announce that 100 Yippeee films have happened in the first 100 days of this calendar year (Gregorian). 🙂

Now, moving beyond the century yesterday, we come to ‘IOI’ of the Yippeee train today. Atul ji had posted the penultimate song of this film yesterday. Yes, I refer to the 1965 film ‘Sangraam’ – a film that has a full list of very memorable songs. This film made its debut on our blog way back on 12th Nov, 2010. Just see the list below of the songs posted so far. Each one of these songs is a veritable gem – in a mood that is so representative of the music of the 1960s.

Main To Tere Haseen Khayaalon Mein Kho Gayaa Sangraam 1965 3195 12-Nov-10
Masti Mein Doley Jiyaa Ho Sangraam 1965 4270 25-Jul-11
Dam Dam Dam Dam Damroo Baaje Sangraam 1965 10405 25-Oct-14
O Tera Chhup Chhup Ke Chale Aana Sangraam 1965 14093 23-Feb-18
Nikla sainyya chaalbaaz re Sangraam 1965 14255 10-Apr-18

These songs represent a music that was full of verve, full of energy, full of a joyous expression of love, taking in a lot of influence of the western rock and pop genres. Rhythm was more or less the dominant temper of this music, which was made for a popular taste that was already initiated by an increasing influence of western rhythms on the young minds of this nation. The decade of the 1960s was the time when the joys of freedom and the pain of partition were both tending to fade into paler shades, getting better of the passing generations.

The film is produced under the banner of Film India, Bombay, and is directed by Babubhai Mistry. The cast of actors includes Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong.

After his earlier cameo appearances in films of 1950s, the first lead role that Dara Singh landed was in the film ‘King Kong’ of 1962. This was followed by ‘Aawaara Abdullah’ in 1963, then ‘Ek Tha Alibaba’, ‘King of Carnival’, ‘Rustom e Baghdad’, also 1963. In 1964, we see him in ‘Aandhi Aur Toofaan’, ‘Aaya Toofaan’, ‘Hercules’, ‘Dara Singh’ (yes, a film titled after his own name), ‘Rustom e Rome’, ‘Baadshah’, ‘Veer Bhimsen’. So when we come to 1965, Dara Singh has already appeared in a lead role in 12 films in just three years. The reason I am making this observation is that when I viewed this film in preparation for this post, I found a very interesting aspect. In this film, he is accompanied in the star cast by his younger brother Randhawa. The two brothers have already appeared together in ‘Aawaara Abdullah’, ‘Hercules’ and ‘Veer Bhimsen’. This is their fourth film together. As I viewed this film, I realized that the dialogues of both are dubbed in voices other than their own. I have not had time to sample once again his earlier films (some of which I know I have seen earlier) to ascertain whether this dubbing aspect is present in any of his earlier films. I do remember reading, well a long time back, that in the initial years of his career, his diction of Hindi/Urdu dialogues was less than desirable, as his voice had a very strong Punjabi accent to it. But I did not realize that he would be going through more than a dozen films and still be required to have his dialogues dubbed. The voice of the dubbing artist is very familiar, but I am not able to place a name to it right now.

The film is a costume drama with a strong element of palace intrigues and lost and found siblings stories. The corrupt Wazir (prime minister) has the king assassinated, and usurps the throne for himself. The king has two sons. The nanny for the two children is able to escape the bloodshed in the palace, along with one of the princes. The Wazir kind of adopts the second son, and raises him on a diet of lies and misinformation, hiding the truth about the death of the king, his father. The Wazir has a daughter, whom he wants to get married to the prince-in-custody. The prince-in-custody also fancies the lady. But the lady had lost her heart to a commoner in one of the villages in the kingdom, during some interludes that are very conveniently created by the story writers. The person she fancies, is actually the other prince, who had been taken away by the nanny and was raised by her in anonymity. So the tale of this film is about how the two brothers at first are enemies on account of fancying the same lady; then some way through the film, the truth about siblings is revealed and they become a team to vanquish the scheming Wazir and reclaim their father’s kingdom. And yes, the younger sibling gracefully steps aside for his elder brother to take over. 🙂

The one more interesting thing that I note about this film is the long drawn fighting sequences. Regular fans of Dara Singh films will recall the name King Kong. Yes, we had a wrestler by this name in that era when freestyle wrestling was a hugely popular spectator sport with the likes of Dara Singh, Randhawa, Goldstein, Imam Bux, Sheikh Ali, Hamida Pehalwan and of course the Great Gama Pehalwan etc. being the big names billed for such events. Believe it or not, but that was an era when for a freestyle wrestling match between some great names, one could expect anywhere from 1 Lakh to 2 Lakh spectators to be present (a Lakh is 100,000).

King Kong was a hugely bulky wrestler. His real name was Emile Czaja, and he was of mixed Indian – Australian descent, born in Hungary. He became a professional wrestler in the sub-continent and also appeared for bouts in all of south east Asia and Japan etc. Like Dara Singh he also migrated into Hindi films during the late 1950s and 60s, and appeared in many films generally as part of the villain’s team that would give a thrashing the heores to start with, and then at the end, get a beating of their lives at the hands of the lead wrestler. On YouTube, there are a few video footage clips of actual wrestling matches between Dara Singh and King Kong. Both of them appeared in many Hindi films together.

King Kong makes an appearance in this film also, as one of the henchmen of the devious Wazir. He has an additional significant presence in this film, as he also plays the father to the the young lady (Aruna Irani) who is the love interest of Maruti, the sidekick of Dara Singh in the film, making up a very detailed CSP (comic side plot). He fights on the side of the baddies, but eventually gives in to the goodies, since his daughter is in love with one of the goodies team member.

Ah yes, so I was talking about the long drawn out fight sequences in the film. They begin to appear almost from the start of the film, continue regularly throughout. Given these segments, the CSP and the songs, the actual story and dialogues have very little room to maneuver themselves. Everything other than the fight sequences seem to be in a hurry to get themselves done with. 🙂

Today’s song is the sixth song in the film. And what a rollicking dance song this one is. The trio of music directors – Lala Asar and Sattaar seem to be outdoing themselves in getting through the songs of this film. The song is filmed as a group dance song. The occasion is that the Wazir’s daughter has fled her father’s palace, choosing to come to the village where Dara Singh resides with his mother (actually his nanny from the royal babyhood days). The Wazir’s soldiers are chasing her, and they have been given a good beating by Dara Singh, Maruti and their team. This song is a celebration of their victory. We see Dara Singh and Geetanjali (Wazir’s daughter) and Dara Singh’s ‘mother’ seated prominently amongst the audience watching this performance. Maruti is part of this group dance. The video clip that is available is somewhat out of focus, on account of colors being splayed a little, as the photochemicals on the celluloid have aged. The face of the lead dancer is not very clear, and before I hazard a guess as to her identity, I request other friends and readers to please help identify this actress.

Enjoy this final song from this film to make it on to the billboard of our blog. And with that, we announce the Yippeee-dom status to this film. All aboard.

 

Song – Dhali Re Dhali Re Saanjh Dhali  (Sangraam) (1965) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Lala Asr Sattaar
Unidentified Male Voice
Chorus

Lyrics

teek teek jhungha ka jhoonga
teek teek jhungi ki jhungi

teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

bol sakhi
mere daaman mein kya hai
machla hua
aa ke mausam chhupa hai
meetha meetha
chhaaya mujh pe nasha hai
meetha meetha
chhaaya mujh pe nasha hai
ye to abhi
pehli pehli ada hai
chain luta
jaane kya ho gaya hai
mann ki lagan
ho ke magan
dol rahi jaise pawan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

naam mera
dil pe likhte deewaane
bhanwre sadaa
aayen ras to churaane
aai badi
rang mujh pe jamaane
aai badi
rang mujh pe jamaane
uljhe agar
bolo saawan suhaane
uljhe bina
suljhe naa dil ke taraane
jawaan jawaan chhaaya samaa
husn bhara gora badan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

raat nai
aai hai un se milaane
husn chala
ishq pe tan mann lutaane
chaand aaya
aaj mujhko bulaane
chaand aaya
aaj mujhko bulaane
kaun hai wo
hum se lagi tu chhupaane
preet bhare
nain batiyaan na maane
behki nazar
jaaun jidhar
aata mujhe
wo hi nazar
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

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

टीक टीक झुंघा का झूंघा
टीक टीक झुंघी का झुंघी

टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

बोल सखी
मेरे दामन में क्या है
मचला हुआ
आ के मौसम छुपा है
मीठा मीठा
मुझपे छाया नशा है
मीठा मीठा
मुझपे छाया नशा है
ये तो अभी
पहली पहली अदा है
चैन लुटा
जाने क्या हो गया है
मन की लगन
हो के मगन
डोल रही जैसे पवन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

नाम मेरा
दिल पे लिखते दीवाने
भँवरे सदा
आयें रस को चुराने
आई बड़ी
रंग मुझपे जमाने
आई बड़ी
रंग मुझपे जमाने
उलझे अगर
बोलो सावन सुहाने
उलझे बिना
सुलझे ना दिल के तराने
जवां जवां छाया समां
हुस्न भरा गोरा बदन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

रात नई
आई है उनसे मिलाने
हुस्न चला
इश्क़ पे तन मन लुटाने
चाँद आया
आज मुझको बुलाने
चाँद आया
आज मुझको बुलाने
कौन है वो
हमसे लगी तू छुपाने
प्रीत भरे
नैन बतियाँ ना माने
बहकी नज़र
जाऊन जिधर
आता मुझे
वो ही नज़र
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3553 Post No. : 14255

“Sangraam”(1965) was directed by Babubhai Mistry for Film India, Bombay. The movie had Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, King Kong etc in it.

The movie had six songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Sangraam”(1965) to appear in the blog. The song is sung by Lata. Aish Kanwal is the lyricist. Music is composed by Lala Asar Sattar.

The song is picturised on Geetanjali, as far as I can tell from the grainy picturisation of the song, who is sing singing and dancing alongwith her sahelis as Dara Singh is seen riding away in his horse.


Song-Nikla sainyya chaalbaaz re (Sangraam)(1965) Singer-Lata, Lyrics-Aish Kanwal, MD-Lala Asar Sattar

Lyrics

nikla sainyya chaalbaaz re ae
de ke daga wo to chala gaya
chala gaya
de ke daga wo to chala gaya
nikla sainyya chalbaaz re ae
de ke daga wo to chala gaya chala gaya
de ke daga wo to chala gaya

teri raahon mein ham bhi khade hain
teri raahon mein ham bhi khade hain
ek nazar dekh le jaane waale
koi bhala kaise dil ko sambhaale
dil ko sambhaale kaise
o jaane waale
ho o o
qaatil hain ye andaaz re haay raam
nikla sainyya chaalbaaz re ae
deke daga wo to chala gaya chala gaya
deke daga wo to chala gaya

toone churaai meri aankhon se nindiya
toone churaai meri aankhon se nindiya
chain kahaan
ho gayi main deewaani
hoke magan naache meri jawaani
ae ree jawaani hui hui dekho deewaani
ho dil tujh par hai naaj re haay raam
nikla sainyya chaalbaaz re ae
deke daga wo to chala gaya chala gaya
deke daga wo to chala gaya

kaise bedardi se ankhiyaan ladi hain
kaise bedardi se ankhiyaan ladi hain
o ji balam tujhko kaise manaayen
aaja baalam le loon teri balaayen
teri balaayen leke tujhko manaayen
ho o o
sun le chaahat ka raaj re haay raam
nikla sainyya chaalbaaz re
deke daga wo to chala gaya chala gaya
deke daga wo to chala gaya


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3523 Post No. : 14150

Missing Films of 1960s – 62
– – – – – – – – – – – – – – –

Over a period of time now, more and more films and film songs are becoming available online. Earlier this week itself, Bakshi ji mentioned in one of our conversations that he is now downloading films right on to his smart phone from the internet, and watches them at his convenience. The smart phones are coming up with huge storage memories. The mobile phone service providers are coming up with plans that allow large data volumes to be downloaded. As per him, services like Jio are able to provide good bandwidth, and it does not take long to download a full film. This seems to be a good time for lovers of Hindi films and film music – just log on, do some search and one is able to find many items of interest. And to add, of course, that more and more people are now uploading films and songs online, and sharing with the world.

When I started this series, at the request of Katie Ben, for many episodes I was following the yearly sequence, as per the list worked out by her. In between, sometimes I would jump ahead for a special request. But the progression was linear more or less. Lately, I have been moving back and forth between the years, as I continue to either discover hitherto unavailable songs, or having acquired them from friends, I have uploaded them myself. Having reached up to the year 1967 with postings of songs of unrepresented films, I move back to 1965 again today.

The film being introduced today is ‘Gopal Krishna’. As the name suggests, this is a religious film, that highlights the life and times of Lord Krishna, when he descended upon this earth, as an incarnation for destroying the evil forces in this creation.

The film is produced under the banner of Chitrashala, Bombay and is directed by D Raman. The cast of actors is listed as Jaishri Gadkar, Prakash, Rajan Haksar, Sapru, SK Prem, Ratnamala, Mohan Choti, Mridula, Dalpat, Moni Chatterji, Sadhana Khote, Madhumati, Uma Khosla, Lalita Kumari, Saudagar Singh, KL Panda, and Pal Singh. From this list, I surmise that the lead role of Krishna is played by the person whose name is listed as ‘Prakash’. There are eight songs listed for this film. All the songs are from the pen of Bharat Vyas, and the music is composed by N Dutta.

This lovely song is rendered by Suman Kalyanpur. On screen this is performed by Jaishree Gadkar, playing the role of Radha ji, as she is serenading Krishna, role played by Prakash (I hope my guess is correct). The scenario is the groves by the banks of River Jamuna. Krishna is sitting beneath the ‘kadamb’ tree playing his flute, and Radha ji is going to the ‘panghat’ with a ‘matki’ to fetch water for home. This is the most typical scenario in the tales of the pastimes of Radha and Krishna. Their exchanges are being seen by their friends. The gopis accompanying Radha ji are watching from a distance and praising. So are the gwaala friends of Krishna, led by Mohan Choti.

View and enjoy this very auspicious episode from the tales of Shri Krishna.

 

Song – Teri Muraliya Meri Paayaliya, Donon Ka Kaisa Mel Re  (Gopal Krishna) (1965) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – N Dutta

Lyrics

teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

tere suron mein jaadu bhara hai
meri taal mein geet hai
tere suron mein jaadu bhara hai
meri taal mein geet hai
kya todegi isko duniya
janam janam ki preet hai
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

tere liye badnaam kiya mujhe
saare gokul gaaon ne
tere liye badnaam kiya mujhe
saare gokul gaaon ne
kadamb ke neeche
ghunghat kheenche
naachungi tere saamne
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

log kahen tu hai kaala kaanha
nazar na aaye rain mein
log kahen tu hai kaala kaanha
nazar na aaye rain mein
main to tumhen rakhungi kanhaiya
kajra bana ke nain mein
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

तेरे सुरों में जादू भरा है
मेरी ताल में गीत हैं
तेरे सुरों में जादू भरा है
मेरी ताल में गीत हैं
क्या तोड़ेगी इसको दुनिया
जनम जनम की प्रीत है
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

तेरे लिए बदनाम किया मुझे
सारे गोकुल गाँव ने
तेरे लिए बदनाम किया मुझे
सारे गोकुल गाँव ने
कदम्ब के नीचे
घूँघट खींचे
नाचूँगी तेरे सामने
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

लोग कहें तू है काला कान्हा
नज़र ना आए रैन में
लोग कहें तू है काला कान्हा
नज़र ना आए रैन में
मैं तुओ तुम्हें रखूंगी कन्हैया
कजरा बना के नैन में
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3507 Post No. : 14093

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 7
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ओ’ – ओ तेरा छुप छुप के चले आना

मेरी आवाज़ ही पहचान है
गर याद रहे

जी, अब तो सिर्फ आवाज़ ही सहारा है। और यादें। ज़िंदगी काश कुछ अरसा पहले मिली होती॰ ॰ ॰

Rafi Sb never shied away from giving playback to any actor, no matter the age, the role, or even stature in the industry. He would gladly lend his voice to new comers, as well as to lesser known artists, be they the onscreen debutants, or be they new or less popular music directors and lyricists. At times, he would even accept a very nominal amount, or even zero amount, as his fee, when a producer apologetically mentioned about his financial circumstances. Such stories are legion in the industry.

Today’s song is a ‘romantic’ duet from the 1965 film ‘Sangraam’. It is a love song, in a manner of speaking – however it is picturized on the pair that forms the ‘comic side plot’ or CSP in the film. The actors performing this song online are Maruti and Aruna Irani.

The film is produced under the banner of Film India, Bombay and is directed by Babubhai Mistry. This film is another Dara Singh starrer, and its cast of actor is listed as Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong. The music is from the trio of music directors – Lala, Asar and Sattaar. The songs of this film are written by Aish Kanwal and Madhukar Rajasthani, and this song today is from the pen of the latter.

Comic side plot in Hindi films is akin to the concept of ‘comic relief’ of the stage and theatre dramatics. In many films, not just Hindi, but in other regional cinema also, we find that the hero has a friend or a sidekick, who in turn has a secondary storyline running in parallel with the storyline of the hero. The highlight of this storyline is the romantic angle which involves one of the supporting actresses in the film, generally a friend of the heroine. This side plot progresses alongside the main storyline. Mostly, the male protagonist in this side plot is a comedian. And the relative importance of the comedian actor, of the role played, and of the side plot itself is measured by whether this side plot pair gets to perform a song on screen. In most films, we find that yes, this side plot romantic pair gets to sing at least one, and occasionally, even more than one songs.

In this film, the side plot players are Maruti and Aruna Irani. And they have a song to play. Romance is being expressed, albeit in the typical comic style of Maruti, with a discussion on possibilities of a marital alliance thrown in for good measure. Rafi Sb’s voice is accompanied by Kamal Barot. And we get to hear a treat of an entertaining duet – romance in the side plot alleys. Enjoy.

 

 

Song – O Tera Chhup Chhup Ke Chale Aana (Sangraam) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Madhukar Rajasthani, MD – Lala-Asar-Sattaar
Mohammed Rafi + Kamal Barot

Lyrics

o tera chhup chhup ke chale aana
mera jhatpat se machal jaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
haaye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

mere pyaar ka bole kabootar
ghum o ghum o ghum o ghum
mere pyaar ka bole kabootar
ghum o ghum o ghum
aur kisi ko dena chakkar
yoon yoon yoon yoon
aur kisi ko dena chakkar
yoon yoon yoon
achha nahin dil ko jalaana
hoye haaye
haaye haaye
mushqil hai baat banaana
oo oo oo oo oo
maan ja meri baanki chameli
chhod de ab tadpaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
ho ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

shaadi kar len ab hum pakki
chal chal chal chal
shaadi kar len ab hum pakki
o chal o chal o chal
babul se tu kar le nakki
kal kal kal kal
babul se tu kar le nakki
kal kal kal
gar usne kaha na maana
haaye haaye haaye
hoye hoye
main chhodoon saara zamaana
aa aa aa aaa
dekh rangeeli badal gai to

zehar padega khaana
haan
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
hoye oo ooye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

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

ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
हाए
राम कसम  इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं ओ घूं
मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं
और किसी को देना चक्कर
यूं यूं यूं यूं
और किसी को देना चक्कर
यूं यूं यूं
अच्छा नहीं दिल को जलाना
होय हाए
हाए हाये
मुश्किल है बात बनाना
ओ ओ ओ ओ ओ
मान जा मेरी बाँकी चमेली
छोड़ दे अब तड़पाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
हो राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

शादी कर लें अब हम पक्की
चल चल चल चल
शादी कर लें अब हम पक्की
ओ चल ओ चल ओ चल
बाबुल से तू कर ले नक्की
कल कल कल कल
बाबुल से तू कर ले नक्की
कल कल कल
गर उसने कहा ना माना
हाए हाए हाये
होय होय
मैं छोड़ूँ सारा ज़माना
आ आ आ आ
देख रंगीली बादल गई तो
जहर पड़ेगा खाना
हाँ
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
होय ओ ओए
राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3504 Post No. : 14080

Missing Films of 1960s – 60
– – – – – – – – – – – – – – –

The debut film for today is ‘Bhakt Prahlad’, the quintessential historical / mythological saga that has been repeated so often across the decades. I would say that, along with the tale of Raja Harishchandra, the story of Bhakt Prahlad probably forms the most times filmed pair of historical / mythological tales. As per Geet Kosh, the story of Bhakt Prahlad has been presented on the silver screen no less than six times – the years in chronological order being 1932, 1934, 1946, 1959, 1965 and 1967. Besides this set of films in Hindi, this tale has also been a subject of many other films released in regional cinema.

The 1965 version of this film was produced under the banner of Madan Movies, Bombay, and is directed by Kamal Sharma. The star cast consists of the following, Anjali, Bablu, BM Vyas, Malika, Sheikh, Rajkumar, Helen, Jeevankala, Ravi Kumar, Ramesh, Mohan Modi, Raja Saleem, Nazeer Kashmiri, Dalda, Maqbool, Pal Sharma, and Jagdish Vyas etc.

The film has eight songs listed in the Geet Kosh. All the songs have been penned by Bharat Vyas. The music direction is by BN Bali (aka Baldev Nath Bali). The song is sung by Asha Bhosle.

I have heard this song, long long back, and then I have not heard it for many years. Today, as I started search for an appropriate song, I came across this one. To start with the words did not ring a bell, and I simply clicked on to play. And as it started to play, the song came alive in the mind along with the memories of radio listening days.

The song is a seduction song, of course presented in a very sober and decent manner. The words and the year remind me of another similar seduction song which is from the 1965 film ‘Jewel Thief’ – “Raat Akeli Hai Bujh Gaye Diye. . .”. As I continued to listen, the second antaraa reminded me of another song from the same year. The film – ‘Mere Sanam’ and the song “Ye Hai Reshmi Zulfon Ka Andhera. . .”. Interestingly, all the three songs have been rendered by Asha Bhosle. And I am wondering – same year, three different songs from different films, all in the same genre. The subject matter i.e. seduction, is the same; but the treatment is literally ages apart. Hmmm. . . gives me an idea for a series on seduction songs; let me see if I can muster up enough songs to do a complete series.

But regardless, listen to and enjoy this gem of a song from an obscure film, reviving memories of a wonderfully melodic era.

 

Song – Raat Basanti Main Raswanti  (Bhakt Prahlad) (1965) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – BN Bali

Lyrics

jogi..ee..ee..ee

jogi..ee..ee..ee

raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti

dekh wo chanda ras barsaaye
dekh wo chanda ras barsaaye
dekh pawan lehraaye
ye chaandi ki jhilmil kirnen
ye chaandi ki jhilmil kirnen
tan mein chubh chubh jaayen
[. . .]
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
hoye hoye hoye hoye hoye
raat basanti

dekh lachakti gori baahen
dekh lachakti gori baahen
dekh thirakte naina
ghunghat palat jo lat bikhra doon
ghunghat palat jo lat bikhra doon
din ban jaaye raina
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti

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

जोगी॰॰ई॰॰ई॰॰ई॰॰ई

जोगी॰॰ई॰॰ई॰॰ई॰॰ई

रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती

देख वो चंदा रस बरसाए
देख वो चंदा रस बरसाए
देख पावन लहराए
ये चाँदी की झिलमिल किरणें
ये चाँदी की झिलमिल किरणें
तन में चुभ चुभ जाएँ
[॰ ॰ ॰]
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
होए होए होए होए होए
रात बसंती

देख लचकती गोरी बाहें
देख लचकती गोरी बाहें
देख थिरकते नैना
घूँघट पलट जो लट बिखरा दूँ
घूँघट पलट जो लट बिखरा दूँ
दिल बन जाये रैना
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3490 Post No. : 14018

Missing Films of 1960s – 55
– – – – – – – – – – – – – – –

Today’s debut film is Shri Ram Bharat Milan, from 1965.

Today is also the birth anniversary of Kavi Pradeep, one of the leading poets who wrote for Hindi films, during the 1940s, 50s and 60s.

The film is produced under the banner of RM Art Productions Bombay, and is directed by Mani Bhai Vyas. The cast of actors listed for this film are Mahipal, Anita Guha, Nirupa Roy, Rajkumar, Aruna Irani, B M Vyas, Niranjan Sharma, Vanmala, Prithviraj, Balakram, Sulochana. The listings show that there are six songs in this film, all written by Kavi Pradeep. The music for the film is composed by Pandit Shivram. This particular song is a twin dance song sung by Asha Bhosle, Usha Mangeshkar and supported by chorus.

Time was 1960s, and religious films still had a popular following. And the producers community also had an ongoing interest, to continue making films based on our scriptures and ancient history, ensuring that these stories do not fade away from public memory. Their objective was also to ensure that the teachings of the epic stories associated with religion, continue to be passed on to the newer generations. It was a matter of personal and collective responsibility that the film makers and other artists would continue to get together and make such films. Sadly, in the recent decades, this awareness and this responsibility has become a thing of the past.

In 1965, two films were released narrating the story of brotherly love between Sri Ram and Sri Bharat. The other film is titled ‘Bharat Milap’. That film has already made its debut on our blog.

The scene enacted in this song is during the initial days of the vanvaas – the sojourn of Sri Ram to the forests for a period of 14 years, accompanied by Sita ji and Lakshman Bhaiya. As they reach the banks of River Ganga, they have to seek help of the boatmen to cross the river. This episode is a one of the most emotional and well documented episodes in the Ramayan. Nishad Raj Guh, the chief of the boatmen community, and Kevat, one of the boatmen in this community, play very significant roles in this episode.

As is also given in the description of this episode in the Ramayan, the boatmen community do not want Sri Ram to leave their humble village, and request Him to consider staying with them, for the duration of the forest sojourn. But of course Sri Ram has other things in mind, that He has to accomplish during these fourteen years. In this clip from the film, this request to Sri Ram is being presented as a dance. The two lead dancers – I am not able to place a name to these faces, and I request other knowledgeable readers to please help to identify them.

A very interesting thing about the construction of the song. The song is presented in two stanzas. As one hears them, and then also views the lyrics, one realizes that each stanza is quite long (yes, a five plus minutes song has just two stanzas). And the construction of the stanzas is quite complex. Kudos to both the songwriter and the music director to build a very attractive song with such a complex composition.

Listen to and enjoy is delightful song of request, as the boatmen families are requesting to Sri Ram to make their village as His abode for the duration of the vanvaas. They are promising that they will build a city for Him, as beautiful as Ayodhya, His own home town. And they also promise that they will also bring the Saryu river to this place.

A wonderful song to enjoy.

Song – Mat Jaao Mat Jaao Mat Jaao Ram Ji  (Shri Ram Bharat Milan) (1965) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Pradeep, MD – Pandit Shivram
Asha Bhosle + Usha Mangeshkar
Female Chorus
Female + Male Chorus

Lyrics

yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas
chaudah baras tak
isi jageh par
raho hamaare paas ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

tum jo kahoge to yahin pe hum ik
nai ayodhya basaayenge ho..oo
nai ayodhya basaayenge
ho oo
tum jo chaahoge to dharti ko khod khod
saryu ko bhi yahaan laayenge
hey ram
siya ram
hey ram siya ram
hey ram
tumhaare liye ek
mahal banaayenge
phir haath jod jod
us mein basaayenge
sab devi devta
dekhan ko aayenge
daanton ke taley wo
ungli dabaayenge
ruk jaao
mat jaao
arey ho oo
tum yahaan kya aaye
hamre liye to
hey ram
ho oo oo
tum yahaan kya aaye
hamre liye to
dharti pe aaya akaash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

raakhi ke din hum tumko banaayenge
apna pyaara bhiaya
ho oo oo
apna pyaara bhaiya
ho oo oo
seeta rani ko bhabhi kahenge
le lenge pyaar se balaiyaan
hey ram
siya ram
hey ram siya ram
hey ram
bhabhi ke aas paas
chakkar lagaayenge
hum in ko chhod ke
kahin na jaayenge
roothenge agar ye
in ko manaayenge
dholak bajaayenge
gaana sunaayenge
ruk jaao
mat jaao
arey ho oo
kabhi kabhi jangal mein mil jaate hain
hey ram
ho oo oo
kabhi kabhi jangal mein mil jaate hain
raakshas badey badmash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

pal pal raho tum
aankhon ke saamne
hey dhanush ke dhaari
hey dhanush ke dhaari
ho oo oo
dekho tum hum ko chhod na dena
rakhna marzi hamaari
hey ram
siya ram
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
चौदह बरस तक
इसी जगह पर
रहो हमारे पास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

तुम जो कहोगे तो यहीं पे हम एक
नई अयोध्या बसाएँगे हो॰॰ओ
नई अयोध्या बसाएँगे
हो॰॰ओ
तुम जो चाहोगे तो धरती को खोद खोद
सरयू को भी यहाँ लाएँगे
हे राम
सिया राम
हे राम सिया राम
हे राम
तुम्हारे लिए एक महल बनाएँगे
फिर हाथ जोड़ जोड़
उसमें बसाएँगे
सब देवी देवता
देखन को आएंगे
दांतों के तले वो
उंगली दबाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
हे राम
हो॰॰ओ॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
धरती पे आया आकाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

राखी के दिन हुम तुमको बनाएँगे
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
सीता रानी को भाभी कहेंगे
ले लेंगे प्यार से बलइंय्यां
हे राम
सिया राम
हे राम सिया राम
हे राम
भाभी के आस पास
चक्कर लगाएंगे
हम इनको छोड़ के
कहीं ना जाएँगे
रूठेंगे अगर ये
इनको मनाएंगे
ढोलक बजाएँगे
गाना सुनाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
कभी कभी जंगल में मिल जाते हैं
हे राम
हो॰॰ओ॰॰ओ
कभी कभी जंगल में मिल जाते हैं
राक्षस बड़े बदमाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

पल पल रहो तुम
आँखों के सामने
हे धनुष के धारी
हे धनुष के धारी
हो॰॰ओ॰॰ओ
देखो तुम हमको छोड़ ना देना
रखना मर्ज़ी हमारी
हे राम
सिया राम
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3478 Post No. : 13975

Missing Films of 1960s – 52
– – – – – – – – – – – – – – –

A bit of a coincidence here that the song of this series posted yesterday “O Chanda. . . Aaj Ki Raat Na Dhalna”, and today’s next song in this series, both are ‘chaand’ songs. Yesterday’s song got posted early in the morning, and later I was thinking – posting a ‘chaand’ song at sunrise time is wholly inappropriate. And so, today’s ‘chaand’ song I am bringing to you at an appropriate time in the evening – a waxing moon is in the skies.

Today’s film is ‘Bharat Milap’ from 1965. The film was produced under the banner of KP Productiond, Bombay, and the director’s name is Babubhai Mistry. The cast of actors includes Sohrab Modi, Sulochana, Ashish Kumar, Indrani Mukherjee, Leela Misra, Anand Kumar, and Mridula amongst others.

The film has seven songs, all from the pen of Bharat Vyas. Music is by Vasant Desai. Today’s song is a duet in the voices of Lata Mangeshkar and Mahendra Kapoor. Unless I am mistaken, the actors performing this song on screen are Ashish Kumar and Indrani Mukherjee. I request other knowledgeable readers to correct me in case I am in error.

The storyline of the epic ‘Ramayan’ is quite well known. After Shri Ram departs from Ayodhya to spend fourteen years as an ascetic in the woods, Bharat ji makes one attempt to bring him back. He goes to meet him at Chitrakoot. The entire portrayal in this epic is a guidance for the right things to do in life. The meeting at Chitrakoot is very significant. The various dialogues that happen here are so full of deep learnings for mortal humans, on how to conduct themselves in real life. The decision at this juncture is that Bharat ji will return to Ayodhya, and continue look after the administration of the kingdom, and take care of the family and the people. Shri Ram along with Sita ji and Lakshman ji will continue his stay away from Ayodhya, till the specified time.

Bharat ji returns with the ‘charan paduka’ (sandals) of Shri Ram, and places them on the throne of Ayodhya. And he places himself on the ground next to the throne, while administering the kingdom, asking for inspiration and guidance at every step, from the ‘charan paduka’. He further resolves that he will not stay in the palace, for the duration that Shri Ram is traveling in the woods. He also has a hut made for himself in a small village, Nandigram, next to Ayodhya, and stays there only. Even inside the hut, he does not sleep on the ground. He digs a cavity or a trench in the ground, a couple of feet deep, and he sleeps at that level. He says he will not sleep on the same ground on which Shri Ram is walking bare footed for fourteen years. He forsakes all the comforts and luxuries, and also all the pleasures and shared nearness in his own personal life. His spouse, Mandavi, stays in the palaces, but they do not share any proximity.

The tale and the teachings of ‘Ramayan’ are the best examples of personal sacrifices that individuals make for the sake of their dear ones, and for the sake of moral and uprightness in life. I may be digressing here, but I would like to briefly tell about the role of Shatrughan, the youngest of the four brothers, in these complex circumstances.

It is stated that Lakshman ji had taken a vow that he would not sleep for all the time that Shri Ram is away from home, and that he would always be standing guard for the safety and well being of his elder brother and bhabhi (sister in law). What is not well known is that even Shatrughan ji followed a similar stringent regime. All during the day, he would be assisting Bharat ji with the matters of the kingdom. And in the night, he would make one round of the kingdom, and then come and sit on a stone at the gates of the kingdom, keeping vigil, till dawn.

Taken in the right spirit, this tale is the pinnacle of a visionary and inspirational lesson. To keep the honor of a promise, all the four brothers make unparalleled sacrifices. One leaves home with the resolve to live like an ascetic in the woods, for fourteen years. Another resolves to accompany him to secure the comfort and safety of his elder brother, forsaking even sleep. The third brother declines to sit on the throne, gives up his own comforts and resolves to also live like an ascetic for the same period, albeit in his own kingdom. He also resolves to sleep in a pit below the ground, and not on the ground on which his elder brother walks barefoot. And the fourth brother, also forsakes his comforts, and sleep, keeping vigil over a kingdom which all acknowledge belongs to the eldest brother. All the four brothers forsook family life for the duration of this exile. A tale like this has no parallels anywhere in the annals of world history or literature.

This is a wonderfully crafted song, that is simultaneously moving at two levels. Both the levels are expressions of love. But one level is expressing love for a beloved spouse, and at the other level, the love being expressed is for a beloved elder brother. The expression of love in the second level is amounting to love for God Himself. Mandvi, the wife of Bharat ji, is calling out to her husband, expressing her emotions of missing him, and feeling incomplete within herself. Bharat ji is singing the same song at the same time, only that his call is directed towards Shri Ram, reminding Him that his (Bharat ji’s) life is in a precarious balance, if He does not return on time, as promised.

A lovely melody created by Vasant Desai, and a memorable song this one is.

Video (Some skipped words)

Audio (Complete)

Song – Chandrama Ja Un Se Keh De  (Bharat Milap) (1965) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Bharat Vyas, MD – Vasant Desai

Lyrics

chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de

kehna tujh bin adhkhila
maathe ka tika hai
kehna tujh bin ye mera
sansaar pheeka hai
oo oo oo
chandrama ja un se keh de

kehna ab na seh sakoongi
vireh ki jwaala..aa
toot jaaye na kahin
meri saans ki maala
oo oo oo
chandrama ja un se keh de

ye basanti raat kaate se
nahin kat’ti
ye ghadi nishthur
ghadi bhar bhi nahin ghat’ti
un charan ki raah mein
ye nain bhatke hain
un ke darshan ke liye
ye praan atke hain

oo oo oo
chandrama ja un se keh de
na bano itne kathor
baat takte ho gai
geeli mere palkan ki kor
chandrama ja un se keh de

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे

कहना तुझ बिन अधखिला
माथे का टीका है
कहना तुझ बिन ये मेरा
संसार फीका है
ओ ओ ओ
चंद्रमा जा उनसे कह दे

कहना अब ना सेह सकूँगी
विरह की ज्वाला॰॰आ
टूट जाये ना कहीं
मेरी सांस की माला
ओ ओ ओ
चंद्रमा जा उनसे कह दे

ये बसंती रात
काटे से नहीं कटती
ये घड़ी निष्ठुर
घड़ी भर नहीं घटती
उन चरण की राह में
ये नैन भटके हैं
उनके दर्शन के लिए
ये प्राण अटके हैं

ओ ओ ओ
चंद्रमा जा उनसे कह दे
ना बनो इतने कठोर
बाट तकते हो गई
गीली मेरे पलकन की कोर
चंद्रमा जा उनसे कह दे


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3477 Post No. : 13967

Missing Films of 1960s – 51
– – – – – – – – – – – – – – –

It is not just a song that I should be concerned about. It is the entire film that I am surprised, has missed the attention of the team members of this blog. And not that the film is the issue. It is the songs that I wonder about. And just the category – ‘How come I missed this song’, will not suffice. Maybe another category that says – ‘How come we all missed this movie’.

The film that I am talking about is ‘Mahabharat’ from 1965. And I am sure you will be asking me – why? Another quite obscure film from the 1960s, as obscure as they come. But the songs, I am sure are going to turn out to be very familiar, most of them are favorites from radio listening days. Just sample these

  • “Champa Kali Chhup Chhup Jaaye Re”
  • “Ta Na Na Dir Dir Deem, Deem Ta Dere Na”
  • “Hari Hari Dharti Hai Neela Gagan”
  • “Sakhi Ri Baaje Mann Ki Baansuriya”

And today’s debut song, which is not the least of these – “O Chanda. . . Aaj Ki Raat Na Dhalna”. This film is such treasure of wonderful songs, all of them available online. And yet, this film has taken all this time to make its debut here.

The film is produced under the banner of AG Films, Bombay and is directed by Babubhai Mistry. The star cast is impressive and includes Pradeep Kumar, Padmini, Dara Singh, Abhi Bhattacharya, Jeevan, Ambika, Manhar Desai, Tiwari, Anoop Kumar, Maruti, and Achla Sachdev amongst others. Song list in Geet Kosh contains 9 songs. All the songs are from the pen of Bharat Vyas. And the music direction – it is Chitragupt.

Today’s debut song is a duet sung by Lata Mangeshkar and Mahendra Kapoor. The lilting melody, a dream song – it is such a dear memory from the past. The words, the music and the rendition – all three come together to create this masterpiece. A must listen for the lovers of music and songs of 1950s and 1960s. Enjoy.

Song – O Chanda. . . Aaj Ki Raat Na Dhalna  (Mahabharat) (1965) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Bharat Vyas, MD – Chitragupt

Lyrics

aaaa aaaaaa
aaaaa aaaa
aaa aaaaaa aaaaa
aaaaa aaaaaaaa aaa
 
ooo ooo ooo
ooo ooo ooo
aaaa aaa aaaaa aaa
aaaaa aaaa aaaa aaa

o chanda. . .
aaj ki raat na dhalna
o chanda. . .
aaj ki raat na dhalna
jhilmil taaron ki chhaon mein
main jhoomum pee ki baahon mein
do praanon ke armaanon ka
sapna nahin badalna..aa..aa
o chanda. . .
aaj ki raat na dhalna

jee bhar geet milan ka gaa loon
piya ke haathon maang saja loon
jee bhar geet milan ka gaa loon
piya ke haathon maang saja loon
teri chaandni ki kirnon mein
jee mein aata aaj naha loon
ye badh bhaagin
raat suhaagin
phir aayegi kal na..aa..aa
o chanda. . .
aaj ki raat na dhalna
o chanda. . .
aaj ki raat na dhalna

teri palkon mein raswanti
raat ki rani chehak rahi
teri palkon mein raswanti
raat ki rani chehak rahi
teri alkon ko chhoo kar ke
rajnigandha mehak rahi
kitna aaj bhala lagta hai
chalna aur machalna..aa..aa
o chanda. . .
aaj ki raat na dhalna

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsss आssss
आssss आsss
आss आsssss आssss
आssss आsssssss आss

ओs ओs ओs
ओs ओs ओs
आss आs आssss आss
आssss आsss आsss आss

ओ चंदा॰॰आ
आज की रात न ढलना
ओ चंदा॰॰आ
आज की रात न ढलना
झिलमिल तारों की छाँव में
में झूमूँ पी की बाहों में
दो प्राणों के अरमानों का
सपना नहीं बदलना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना

जी भर गीत मिलन का गा लूँ
पिया के हाथों मांग सजा लूँ
जी भर गीत मिलन का गा लूँ
पिया के हाथों मांग सजा लूँ
तेरी चाँदनी की किरणों में
जी में आता आज नहा लूँ
ये बढ़भागिन
रात सुहागिन
फिर आएगी कल ना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना
ओ चंदा॰॰आ
आज की रात न ढलना

तेरी पलकों में रसवन्ती
रात की रानी चहक रही है
तेरी पलकों में रसवन्ती
रात की रानी चहक रही है
तेरी अलकों को छू कर के
राजनीगंधा महक रही है
कितना आज भला लगता है
चलना और मचलना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3476 Post No. : 13962

Missing Films of 1960s – 50
– – – – – – – – – – – – – – –

Films get made, they are processed and censored, they get released – and quite a number of them simply fade away without a trace. The fate is shared by many a films. Unless the film was a success, or was produced by a big production house, or had a cast of actors or music director associated with it, who were well known.

I do not mean to say that all films were disasters, and were financial debacles. No. Rather many of the B/C grade adventures and stunt type films, would actually do very good business in the 2nd and 3rd tiered circuits, catering to a class of audience, who were avowed loyalists to this genre. So they may not have been failures as such. But then, not being associated with big names in the industry, there generally was no one to look after them, once the first and second runs in the theatres were done with. What with the celluloid originals requiring large storage spaces, and also the controlled environment to maintain, most producer simply turned their backs on these films, and moved on with their pockets filled as much as the film’s run could give them. After that, it was the trash heap, or the fire of silver extractors, that simply destroyed so many of these films. ‘Heritage’ is probably a word that our film industry simply does not comprehend.

‘Baaghi Haseena’ is one such film from the year 1965. Categorized as a fantasy cum stunt film, it comes from the banner of Award Films, Bombay and its director’s name is given simply as Ram. An abbreviated list of actors includes Jairaj, Chitra, Sherry, Sheikh and Helen. The first two are the lead pair, Sherry most likely is the villain of the piece, Sheikh is the comic relief, and Helen, of course, is the entertainment attraction for the audiences. And voila, the film is made.

Ok, sorry – songs are needed. So there is a music director – the name is PD Sharma. As I scanned some part of the Geet Kosh, I find no other reference to this name, anywhere else. So this most likely, is the only film done by this music director. I do find a name that might be close – Pandit Damodar Sharma. But that is way back in 1948. In all likelihood, these two are not the same person. I request other knowledgeable readers and friends to add more information here, if available.

The songwriter’s name is lost. The Geet Kosh lists 5 songs for this film, also gives indication that there might be more. The singer names are available and so are the 78 rpm record nos. One possibility is that this detail is probably from the HMV catalogs.

The film has two wonderful solo songs by Asha Bhosle. I present today, one of them, for your listening pleasure. Listening to the words and rendition, it seems very likely that these two Asha Bhosle songs could be performed by Helen. The reason I say so is this – the list of songs contains a Sumam Kalyanpur solo and a Suman-Rafi duet. Likelihood is that the Suman Kalyanpur songs are lip synced by the leading lady, especially that the duet would be picturized on the lead pair. That would leave the Asha Bhosle songs to be picturized on Helen. It is a conjecture that I am making, and not a claim. Once again, I request other knowledgeable readers to please comment on this.

Listen to this wonderfully paced song, whose words are sounding so much like a dance song by Helen. And PD Sharma sir ji – wow and thanks for this music piece. It is kind of sad that we do not find another film listed with your name as music director.

With this song, the 1965 film ‘Baaghi Haseena’ makes its debut on the blog today. Listen and enjoy.

 

Song – Bholi Surat Pe Na Jaana  (Baaghi Haseena) (1965) Singer – Asha Bhosle, Lyrics – [Unatributed], MD – PD Sharma

Lyrics

bholi
surat pe na jaana
kahin
dhokhe mein na aana
aage
aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
hey hey

har ada mein dilkashi hai
mere hothon pe hansi hai
ik shoal zindagi hai
mere dum se roshni hai
mere dum se roshni hai
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
aa haa

mere din..n..n
hain meri raaten
kaun jaane..ey..ey
dil ki baaten
meri din hain meri raaten
kaun jaane dil ki baaten
kaun jaane dil ki baaten
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
haa haa

main jahaan bhi
muskuraa doon
gham e zindagi bhula doon
naghma e dil suna doon
soye fitne jaga doo..oon
soye fitne jaga doon
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na

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

भोली
सूरत पे ना जाना
कहीं
धोखे में ना आना
आगे
आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
हे हे

हर अदा में दिलकशी है
मेरे होठों पे हंसी है
इक शोला ज़िंदगी है
मेरे दम से रोशनी है
मेरे दम से रोशनी है
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
आ हा

मेरे दिन॰॰न॰॰न
हैं मेरी रातें
कौन जाने॰॰ए॰॰ए॰॰ए
मेरे दिन हैं मेरी रातें
कौन जाने दिल की बा॰॰तें
कौन जाने दिल की बातें
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
हा हा

मैं जहां भी
मुस्कुरा दूँ
ग़म ए ज़िंदगी भुला दूँ
नग़मा ए दिल सुना दूँ
सोये फितने जागा दूँ॰॰॰
सोये फितने जागा दूँ
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3474 Post No. : 13950

Missing Films of 1960s – 48
– – – – – – – – – – – – – – –

Going by just the numbers, possibly the ‘Tarzan’ genre of films is the longest such category of films in the Hindi film industry. In the first five decades (from 1931 to 1980), I have tried to pick out the filmography by manual browsing through the Geet Kosh, I am able to locate a total of 15 films that starts with the word ‘Tarzan’ – and this might well be a record in the history of Hindi films.

Debut film for today is one of these Tarzan films – ‘Tarzan Aur Circus’. This 1965 film is produced under the banner of Sargam Chitra, Bombay, and is directed by Shiv Kumar. The brief list of actors includes Azad, Chitra, Sherry, Sundar, Sujata, Rajan Kapoor etc.

The film has six songs listed. All songs are from the pen of Madhukar Rajasthani. And the music is composed by the duo of Husnlal Bhagatram.

The debut song is rendered by Asha Bhosle. The song is an ‘invite’ song in which the lady is trying to incite the gentleman to come and take refuge under the shadow of her tresses. The words by Madhukar Rajasthani are certainly very meaningful. Madhukar Rajasthani, a Hindi poet of significant fame, had some limited forays into the Hindi film industry. He has approximately 18 films to his credits, writing under two names – Madhukar and Madhukar Rajasthani.

A breezy melody from Husnlal-Bhagatram, enjoy this catchy rendition by Asha Bhosle.

 

Song – Meri Zulfon Ki Chhaaon Taley Aa Ja  (Tarzan Aur Circus) (1965) Singer – Asha Bhosle, Lyrics – Madhukar Rajashtani, MD – Husnlal-Bhagatram

Lyrics

meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo oo
phero na mukhda bahaar se
haa..aaye
phero na mukhda bahaar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

mehak raha hai mera husn salona
mehak raha hai mera husn salona
sharmaaun pakdoon main chunri ka kona
sharmaaun pakdoon main chunri ka kona
jaane hu hai kya
main naa kahoongi jaao
zulmi bedardi dildaar se
oo oo oo oo oo oo
zulmi bedardi dildaar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

aa ke panghat pe main pyaasi na jaaun
aa ke panghat pe main pyaasi na jaaun
tadap tadap chaahe jaan gawaaun
tadap tadap chaahe jaan gawaaun
thaam le haath mera
de de tu saath mera
baat banaa de iqraar se
oo oo oo oo oo oo
baat banaa de iqraar se
meri zulfon ki chhaon taley aa ja
nigaahon mein samaa ja
chhupa loon tujhe pyaar se
oo oo
meri zulfon ki. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ ओ
फेरो ना मुखड़ा बहार से
हाए॰॰॰
फेरो ना मुखड़ा बहार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰

महक रहा है मेरा हुस्न सलोना
महक रहा है मेरा हुस्न सलोना
शरमाऊँ पकड़ूँ में सारी का कोना
शरमाऊँ पकड़ूँ में सारी का कोना
जाने हुआ है क्या
मैं ना कहूँगी जाओ
ज़ुल्मी बेदर्दी दिलदार से
ओ ओ ओ ओ ओ ओ
ज़ुल्मी बेदर्दी दिलदार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰

आके पनघट पे मैं प्यासी ना जाऊँ
आके पनघट पे मैं प्यासी ना जाऊँ
तड़प तड़प चाहे प्राण गँवाऊँ
तड़प तड़प चाहे प्राण गँवाऊँ
थाम ले हाथ मेरा
दे दे तू साथ मेरा
बात बना दे इक़रार से
ओ ओ ओ ओ ओ ओ
बात बना दे इक़रार से
मेरी ज़ुल्फों की छांव तले आ जा
निगाहों में समा जा
छुपा लूँ तुझे प्यार से
ओ ओ
मेरी ज़ुल्फों की॰ ॰ ॰


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14200 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1143
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