Posts Tagged ‘1966’
Ye jawaanee badee badnaam hai
Posted on: April 21, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5756 | Post No. : | 18280 |
Today’s song is from the social film Sunehre Qadam-1966.
It was a social film directed by Satish Nigam and Music Directors were Bulo C Rani and S. Mohinder.There were 4 Lyricists for the 7+1(2 part) songs. The cast of the film was Rehman, Shashikala, Agha, Sabita Chatterjee, Randhir etc.
Majority of the cinegoers these days prefer a ‘Happy End’ film. There was a period-mid 40’s to mid 50’s- when Tragedy films were the ‘in’ thing, but as the younger generation grew up, ‘Devdas’ type films became a ‘No-No’. Musicals and Romantic comedies took over. Dilip Kumar who was the cause of such ‘ Tragedy wave’ films, suffered healthwise and stopped acting in such films. ( He had ‘Died’ in 7 such Tragedy films during this period.). Like a pendulum, he went to the other side, doing comic roles and films of other Genres. Big producer-directors like V.Shantaram hated films where the hero ‘died’ in the end and had made films like ” Aadmi”-1937, with a message “Life is for living”.
The other day, I was searching on Google to get an answer to my curious question ” Why does a man want a ‘Happy End’ to all matters in life ?” After searching for a long time for a few days, I came across a Research paper titled ” Human mind and the desire for a Happy End’. As per this scientist, the Human mind basically wants peace and joy so that he performs well in life, without wasting time on solution-less matters which have a ‘Tragic End’.
Applying this to film viewing, people seek entertainment and happy times when they go to see a film. From the mid 50’s onwards the trend fully changed to stress on Music, Humour and Happy End. Personally, I like only ‘Happy End’ films. I am sure most people are in my category.
The story of film Sunehre Qadam-1966 was a mixture of attempts to satisfy both types of people – people who liked tragedies and people who liked ‘Happy end’. in this effort, the whole story became patchy and meaningless. take a look at the film’s story….
This is a story of a spoiled motherless rich girl who is also a singer. Shekhar (Rehman) falls in love with Shefali (Shashikala). In their first meeting, Shefali slaps Shekhar, who still loves her. There is a singing competition which is won by Shekhar defeating Shefali. Shekhar wins the Trophy.
Shekhar’s poor parents and brother and sister live in a village. Sheklhar’s earning is limited. To cope up, he has to sell the Trophy. Shefali knows that Shekhar would never ask for money from anyone, so she buys the trophy from the dealer and gifts it to Shekhar. After a few months, he sold it again. Shefali gets it again and gives it to him. Third time there is some misunderstanding in the shop and the shop owner accuses Shefali of stealing the trophy from him. Sheklhar thinks she stole it and accepts the theft himself and goes to jail.
Shefali wants to redeem her foolish behaviour , so she goes to his village to take care of his parents. The father dies soon and the mother too dies. Meanwhile Shekhar comes back from jail. Seeing Shefali at his house, he is angry and fires her and throws her out, without listening to her pleas.
Shefali decides to end her life, after thinking for few days. Meanwhile the shopkeeper meets Shekhar and clears the fact that the Trophy was bought by Shefali 3 times and not stolen. His neighbours also tell Shekhar how Shefali looked after his parents and siblings. Shekhar repents and goes to her. He learns that she has gone to the river. When he reaches the river, he sees Shefali jumping into the river to die. He too jumps and saves her. All matters are cleared and both unite happily.
I don’t know what you think of this story, but I feel it is a third rate story. Neither story nor music was noteworthy. The only redeeming factor was the excellent acting by Shashikala and Rehman. I liked Rehman. He looked like a Royal person and was very impressive. Sai’d Rehman Khan was born on 23 June 1921 at Lahore, British India, now Pakistan, in a Pashtun-origin family. He graduated from Robertson College, Jabalpur, staying in Beohar Niwas Palace. Among his nephews are prominent Pakistani film and TV actor Faisal Rehman and Fasih Ur Rehman, Indian classical dancer, and sons of his younger brother Massud-ur-Rehman, the famous cinematographer in Pakistan.
After college (1942), he joined the Royal Indian Air Force and trained at Poona as a pilot. The Air Force didn’t appeal to him and soon left for a career in films at Bombay. He is best known for his suave sophisticated roles, which suited his personality. His movie career started with a job as third assistant director to Vishram Bedekar at the studios in Pune. Vishram needed an Afghan who could tie a Pashtun turban on one of his characters. Rehman could do that, being a Pashtun, and that brought him to the screen for some lead roles. One of his major hits as hero was Pyar Ki Jeet with Suraiya, and the song-“Ek Dil Ke Tukde Hazar Hue, Koi Yahan Gira, “Koi Wahan Gira ” was a major hit. Badi Behen was another big hit with Suraiya. He was also interested in marrying Suraiya, along with many other suitors, though she was adamant in wanting to marry Dev Anand.
Initially he played lead roles, but as time passed, he accepted supporting roles and made his mark in some hit films like Pyaasa, Chaudhvin Ka Chand and Sahib Bibi Aur Ghulam (in which he played a debauched zamindar, Chhote Sarkar), and Waqt which were some of his memorable roles, the first two with Guru Dutt, famous actor, producer, director. Rehman also did key roles in Baharon Ki Manzil, Gomti Ke Kinare, Dushman and Holi Aayi Re. Rehman received four Filmfare nominations as Best Supporting Actor for Phir Subah Hogi (1958), Chaudhvin Ka Chand (1960), Sahib Bibi Aur Ghulam (1962) and Dil Ne Phir Yaad Kiya (1966).
Rehman had a deep, impressive and powerful voice and it is a great irony that he died of throat cancer, It can easily be said that his colourful role as Chenoy Seth in B.R.Chopra’s 1965 film Waqt was one of his best loved performances. Despite his evil designs for Raaj Kumar in the film, audiences admired his style and prosperous look. He proved the perfect match for” Jaani” Raaj Kumar. The scenes between the two, especially at the swimming pool, are among the highlights of the first multi-starrer of our film industry. Word for word, expression for expression, Rehman stood his own opposite Raaj Kumar who was known for his unique voice, style and dialogue delivery. In fact, Rehman seemed more in control than “Jaani”. How smoothly and politely an evil man can accomplish his goals is what Chenoy Seth shows us in Waqt. Indeed, a memorable performance!
Rehman’s first film was Hum Ek Hain-1946 and in 1982 his last 3 films were released-Dil aakhir dil hain, Rajput and Vakil Babu. In all Rehman acted in 113 films and lip synched just 17 songs on the screen, in his career.
Not much is known about Rehman’s personal life except that he lived behind Regal Cinema in Colaba area of Bombay and was extremely devoted to his wife. Director Lekh Tandon informs that the tough Rehman married his girlfriend who looked after him when he fell upon lean times during the 1950s. But as she kept him and his confidence afloat, Rehman was perpetually grateful to her for her supreme sacrifice and the devoted couple lived a reclusive life with Guru Dutt, Johnny Walker and Abrar Alvi amongst their few friends from the industry. Perhaps this seclusion from the moviedom’s social circuit explains the near absence of any stories about him or his family. Nevertheless, like Lekh Tandon opines, “he was a rare breed of actor who brought his own sheen and sophistication to a character”, discerning audiences know he was an actor who was worth his weight in gold. Like a rare melody that is little remembered but never forgotten by our heart, Rehman twinkles in our memory.
In 1977, he suffered three heart attacks due to excessive alcohol consumption . He was also a chain smoker and he was diagnosed with throat cancer. A man whose majestic voice was his signature, lost his voice and he was unable to speak during his last days in his life. Rehman died on 5-11-1984.
Sunehre Qadam-1966 was the last film of Bulo C Rani. Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958). Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.
In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the latter half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press. It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.
The Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.
Today’s song is the last and final song of this film , making it YIPPEED, with all songs covered.
Video
Song- Ye jawaani badi badnaam hai (Sunahre Qadam)(1966) Singer- Asha Bhosle, Sudha Malhotra, Lyricist- Anand Bakshi, MD-S Mohinder
Both
Lyrics
aa aa aa aa aa aa
aa aa aa aa aa aa
o o o o o o
ye jawaani badi badnaam hai
ye jawaani badi badnaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
zulfen bikhere to haar jaaye raat jee
zulfen bikhere to haar jaaye raat jee
mukhda dikhaaye to din khaaye maat jee
mukhda dikhaaye to din khaaye maat
iske bas mein
waah waah
iske bas mein subah hai shaam bhi
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
ik chitchor ka sunte hi naam jee
ik chitchor ka sunte hi naam jee
bade bade dil ko lete hain thhaam ji
bade bade dil ko lete hain thhaam
dil churaana
dil churaana isi ka kaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
suna hoga aapne naam e sharaab ji
suna hoga aapne naam e sharaab ji
kahti hai duniya jisko kharaab ji
kahti hai duniya jisko kharaab
ye umar bhi
haaye haaye
ye umar bhi nasheelaa jaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
Dekha dekha balmaa pyaaraa
Posted on: April 11, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5746 | Post No. : | 18268 |
Today’s song is from the Sci-Fi film Gogola-1966. This is the last and final song of the film here.
According to the Internet information available on http://www.geeksforgeeks.org, as on 6-3-2024, the First 10 biggest Cinema industries in the World are….
| Country | Speciality/ strong point |
|---|---|
| Hollywood In USA | Blockbusters, Technology, Cultural Influence |
| Bollywood IN India | Colourful Musical Dramas, Global Appeal |
| Nollywood IN Nigeria | Prolific, Cost Effective, Family and Love Films |
| China | Box Office Revenue, Infrastructure, Production Volume |
| United Kingdom | Historical Epics, Strong Storytelling, Global Presence |
| South Korea | High production Value, Innovative Storytelling, Thrillers |
| France | Artistic Films, New Wave, Film Festivals |
| Japan | Variety of Genres, Aesthetic Innovation, Samurai Epics |
| Italy | Art Cinema, Compelling Storytelling, Visual Flair |
| Russia | Epic Narratives, Historicals, Animation |
From the above data, one can conclude that it is only the Indian industry which provides only entertainment. It was never famous for Innovative stories, Technical advances or Sci Fi films. The entire focus has been and is even today on giving entertainment. However, as I noticed from the last few years, there have been some subtle changes and a lot of films on National issues, National personalities and films highlighting people who mattered in the development of the country have been made and these have received massive support from the viewers, encouraging more such adventures. In due course it surely will reflect on the Indian film industry in the world’s eyes.
The point I wished to make was that the Indian Film Industry (including the regional ones) had never promoted scientific or fictional “hat ke” films. Long back, in the first decade of the talkie films, the first offbeat film I found was WAHAN-1937 by Prabhat Film company. It was a story about a different new planet. Odd looking sets, queer costumes and trick scenes did make the film different from other films. In 1938, there was PROF. WAMAN M.Sc., where a scientist makes a vaccine which sends people into the future. It was made by Ranjit Cinetone. Film KHWAAB KI DUNIYA-1937 was a better Sci Fi film, based on ” The Invisible Man” by H.G.Wells. Prakash Pictures had taken efforts to make it look almost real. Babubhai Mistri’s trick scenes had earned him the title of “Kala Dhaga” in the industry. Then there was a film in 1947 AAJ AUR KAL, based on a story of a future city. The 1957 film MR. X was one of the best Sci Fi films.
Film GOGOLA-1966 was one film which was a reluctant Sci Fi film. It was a story of a giant Sea monster, a-la KING KONG style. I had seen this film, but I had felt that it was a very poor effort. In those days, I had seen the best Sci Fi films of Hollywood and Japan, so I was disappointed.
In the month of August 2017, I received an email from someone called Kelly Robinson, who was a researcher in Hollywood on Horror films and allied subjects. The writer wanted to know the information from me on the film Gogola-1966. I am yet to know how this person knew my name. Perhaps someone told him about me or he must have visited this Blog. Anyway, I wrote back to him giving the film story and all other details which I had. After an year or so, I was informed that my information on Gogola-1966 was used and published with my name in the book “Gods, Monsters and Lucky Peach”. I tried hard but could never get a copy of that book. So much about the International trip of this film !
This film was directed by Balwant Dave and the cast included Azaad, Tabassum (in one of the few C grade films where she was the Heroine),Polson, Nayampalli, Habib etc. Balkavi Bairagi wrote the songs and a pair of Roy-Frank gave the music. While this was the first film of Balkavi as a Lyricist and the last film of Balwant Dave as a Director, for the MD pair of Roy-Frank this was the First and the last film together ! Frank had been working as an assistant to Kalyanji-Anandji before and after Gogola, Roy (real name Mukund Rai Trivedi) had no connection with the film industry. He was the producer of this film and due to his interest in music, he got hold of Frank and made up a pair. Mukund Rai was the son of a rich businessman in M.P. The family was into Mining business. After this film Mukund Rai also joined his family business and became very rich. Later on he also became a Congress M.P. from M.P.
The story of the film Gogola-1966 was….
Asha(Tabassum),Kumar(Azad) and friends are terrified seeing a gigantic Sea Monster coming out of the sea,known as GOGOLA,while picnicking on a Bombay beach.They run away to police who do not believe them.
Asha’s father (Nayampally) is a scientist who is indebted to Lachhoo(Habib),due to loans taken to discover medicine for Heart attack.Asha is a club dancer and Lachhoo is after her,hence Kumar and Lachhoo become enemies.
Gogola comes to town,kills people and breaks buildings and other structures in Bombay,thereby flooding it.Asha’s father develops a poison for Gogola and Kumar goes to the bottom of sea to inject it to Gogola.Lachhoo tries to kill him in the sea,but Kumar injects Gogola.Before dying, Gogola obliges Kumar by killing Lachhoo.
Kumar gets reward from the Police and Asha from her father…marriage with Kumar !
Today’s song is sung by Usha Mangeshkar and Minu Purushottam.
How does it feel like, losing one’s identity and getting known as a sister of ,not One but Two Celebrities ? For Usha Mangeshkar this is no more a tag problem because after more than 400 films and over 600 songs in a span of 60+ years, she has earned her own place amongst the female singers of Repute !
Born on 15th December 1935, at Sangli, Usha is the fdourth and the youngest sister of Mangeshkars. The line up is very regular-exactly 2 year’s difference in the ages of the siblings-
| Name of Mangeshkar sibling | Year of birth |
|---|---|
| Lata | 1929 |
| Meena | 1931 |
| Asha | 1933 |
| Usha | 1935 |
| Hridaynath | 1937 |
When master Deenanath died in 1942, Lata, all of 13 years, had to act and sing in films to earn money for the family. Meena, not so keen on singing, chose to stay at home and look after the Mother and young Usha and Hridaynath. Asha joined her sister in acting, singing and earning money for the family. Usha was just 7 year old, so she too remained at home. Besides singing, she was interested in Painting, so she took lessons from the famous painter of those days, M.R.Achrekar. In addition, she also continued learning Music from Pt.Tulsidas Sharma,K. Mahavir and Sushant maharaj.
When Asha left suddenly and went away-in 1948- with Ganpatrao Bhosle, double her age, the family got a terrible jolt. The financial responsibility now fell only on Lata Mangeshkar. At the age of 19 years, Usha decided to start earning herself by singing in films and C. Ramchandra gave her a break with a song “Bhaabhi aayi ” from ‘Subah ka Tara’-1954. Her very first song became so popular that she was flooded with children’s song offers. Her next popular song was “Aplam chaplam chap laayi re ” from Azaad, also by C.Ramchandra.
Thus started her journey of film singing. It is to the credit of her sisters, Lata and Asha that they sang duets with her in plenty. In fact for Usha Mangeshkar, her solo songs are not even half of her duets in her career. By 1970, Usha was well known as a singer through her efforts.
In 1975, came the biggest hit song of her career. It was “Main to aarti utaaroon re Santoshi maata ki ” from the film JAI SANTOSHI MAA-1975. Written by Kavi Pradeep and set to tune by MD C.Arjun. This and other songs of this film sung by Usha, became a rage and till today they are the most popular songs sung by her.
“Jai Santoshi Maa” was produced by Shri Satram Rohera, a producer/Director, who was in trouble after his maiden venture ” Rocky mera naam”-73 bombed miserably. Bringing together a team of not so popular actors, director and MD, he produced this low budget film ” JAI SANTOSHI MAA”-in 1975. With this film making history of success his luck changed so much that, I am sure, he must have done the Santoshi Mata Vrat all through his life !
The success of this film also brought accolades to its MD, C. Arjun and Usha Mangeshkar. Usha Mangeshkar not only got ‘The best Playback singer’s award from Bengal Film Journalists Association, but got a nomination for Film fare award also .
After this film, there was no looking back for her. She was always the choice for Item songs like “Mungdaa Mungdaa main gud ki dalli ” etc. Another achievement for her was her foray into Marathi film singing. She was the most favourite singer of Dada Kondke for all his Jubilee films and all her songs became popular too. She must have sung at least 200 songs in Marathi.
By 1957, Meena got married. Asha was also away again, first with O P Nayyar and then with R D Burman. Usha had to look after Mai, their old mother and her younger brother Hridaynath, managing the entire Mangeshkar family and household. In all this there was no time to get married. Like her eldest sister, Usha also remained Unmarried.
Despite singing so many songs in so many films, Usha NEVER got any Filmfare award for her Hindi songs. For her Marathi songs, of course she got many honours and awards.
The voice of Usha is totally different from Lata or Asha. It is tilting towards shrillness, a sharp, a high pitch voice which has a strange attraction power.
From 1954 onward, she carried two heavy burdens- one that of looking after their old mother and the entire family and Two, a permanent stamp of “sister of Lata /Asha”. But she is not complaining. She says-‘It is an honour for me to be recognised as Lata and Asha’s sister. They are icons in the Hindi film industry. Comparatively my contribution is nothing. Further I prefer remaining in the background only.’
With Usha looking after their homes, the Mangeshkar family members had no worry about the home and they could concentrate on their work freely. Usha could not do justice to her Painting. However, some of her Paintings were showcased in some Art galleries a few times.
Usha is nearing 90 years now. She is not very active, but we will always remember her famous songs from films like, Rajhath, Main nashe mein hoon, Guest House, Grihasthi, Mera qasoor kya hai, Chitralekha, Dus lakh, Pyar kiye jaa(O meri Maina), Pyar Muhabbat, Taqdeer, Beti, Jeene ki raah, Khatta Meetha, Shaan, Shama etc. Usha Mangeshkar produced 2 Marathi films and gave music to one of them. She has sung songs in Hindi, Marathi, Nepali, Bhojpuri, Gujrati, Assamese, Odia, Bangla, Telugu,Tamil etc.
My Salute to Usha Mangeshkar, who epitomises the true Indian woman- sacrificing for the family, looking after Home and when needed,earning for family.
With today’s song being the last and the final song of this film, the film becomes YIPPEED, with all its songs covered.
Song- Dekha dekha balma pyaara(Gogola)(1966) Singers-Usha Mangeshkar, Minu Purushottam, Lyricist- Balkavi Bairagi, MD – Roy-Frank
Both
Lyrics
dekha dekha balma pyaara
dekha dekha balma pyaara
balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara
chaand sa gora bematwaala(?)
chaand sa gora bematwaala(?)
ras ka lobhi man ka kaala
chal hat toone kya keh daala
chal hat toone kya keh daala
dekha dekha balma pyaara
dekha dekha balma pyaara
balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara
main kya uska roop bakhaanoon
main kya uska roop bakhaanoon
jaanoon ree jaanoon
sab kuchch jaanoon
batiyaan tori main na maanoon
batiyaan tori main na maanoon
dekha dekha balma pyaara
dekha dekha balma pyaara
balma pyaara sajna pyaara
chhaliya pyaara rasiya pyaara
dekha dekha balma pyaara
dekha dekha balma pyaara
Bhor bhayee uthh jaag re bande
Posted on: March 24, 2024
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.
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Blog Day : |
5728 | Post No. : | 18248 |
“Mere Laal”(1966) was produced by Jyotsna Sen and directed by Satyen Bose for S.S.Chitramandir (P) Ltd.
The movie had Dev Kumar, Indrani Mukherjee, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Misra and Abhi Bhattacharya. They were supported by Jamal, Samson, Raj Kumar, Siddiq, Ghulam Sabir, Bhola, Master Anwar,
Madhuraj, Meenakshi, Juthikadevi, Darshan, Moolchand, Master Satyajit, Mahesh Kumar, Master Ratan, Bihari,Kedarnath Saigal, Harbans Darshan. M.Arora, Ratan Gaurang, Moolchand etc in it.
Story of the movie, as collected from internet and shared by Prakashchandra is
Badshah (Dev Kumar) is the most wanted dacoit in town. One day he goes to rob a house with his group, but the police comes to catch them. Badshah manages to flee and hides at an unknown place, where he finds a young girl kidnapped and tied with ropes. He rescues the girl. The girls name is Jamna (Indrani Mukherjee) and she is a street dancer. She stays with her alcoholic uncle. Jamna develops an immediate liking for Badshah, inspite of knowing his profession.
One day Badshah sees one of his enemies and he chases him. He follows him in a little boat in the Ganges. But the boat drowns in the flood. Badshah escapes safe through the flood and finds a little boy crying at the shore. The little boy was trapped in the flood and actually belonged to a married couple of the village. Badshah does not feel like leaving the kid alone. He takes the child with him. He goes to Jamna to give her the child so that she can take care of him. But she refuses, thinking that the child is Badshah’s son.
Badshah takes the responsibility of the child and names him “Bacchu”. He gets very attached to Bachhu, also leaves his profession and eventually turns into a good man. On the other hand Bachhu’s real mother, Madhu (Mala Sinha) is devastated to have lost her only child. Badshah starts earning his bread and butter by singing and dancing on the streets.
Ten years pass by. One day Badshah falls sick and Bachchu goes to sing alone, where he meets his real mother Madhu . Madhu and her husband recognize Bachhu by his locket. They go to Badshah to seek permission for taking Bachhu along with them. Badshah with initial hesitation lets them take their child, so that Bachhu can get a better home and education. Bachhu goes with his real parents. But Badshah and Bachhu both are really sad to have got separated. Badshah falls sick and his condition becomes critical. Bachhu flees from his home to meet Badshah. But by that time Badshah has died.
“Mere Laal”(1966) had eight songs in it. Seven songs have been covered in the blog.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 1234 | Meri patli kamar lambe baal re | Lata Mangeshkar | Majrooh Sultanpuri | 7 May 2009 | |
| 1242 | Paayal ki jhankaar raste raste | Lata Mangeshkar | Majrooh Sultanpuri | 8 May 2009 | |
| 8362 | Agar padho likhoge babu raja banoge | Lata Mangeshkar | Majrooh Sultanpuri | 17 July 2013 | Lyrics by Khyati Bhatt jee |
| 13626 | Jab tak ye sansaar nachaaye Multiple version song | Mukesh, Usha Mangeshkar | Majrooh Sultanpuri | 1 October 2017 | Post by Sudhir Jee , Multiple version song. One thousandth song of Majrooh Sultanpuri in the blog as lyricist |
| 14882 | Baadal roya naina roye | Lata Mangeshkar | Majrooh Sultanpuri | 16 February 2019 | |
| 18204 | Laal tera jug jug jiye maataa | Lata Mangeshkar | Majrooh Sultanpuri | 12 February 2024 | Lyrics by Prakashchandra |
One can observe that The movie had as many as five Lata Mangeshkar solo songs in it. One song had voices of Mukesh and Usha Mangeshkar.
One final song from the movie remains to be covered in the blog. This song is sung by Hemant Kumar. This brief song is picturised as a background song. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the songs of “Mere Laal”(1966) get covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Bhor bhayee uthh jaag re bande (Mere Laal)(1966) Singer-Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics(Provided by Prakashchandra)
bhor bhayee
bhor bhayee
uthh jaag rey bandey ae ae
rain gayee ee ab sonaa kyaa rey ae
samay chook phir pachhtaawegaa aa aa
samay chook phir pachhtaawegaa
aisaa avsar kab aawegaa aaa
jhilmil jyot jharey aey ambar se
tu andhee..ee sapnon mein aen tarsey
ye ujiyaaree ang lagaa ley
jeevan mein phir ronaa kyaa rey
bhor bhayee ee ee ee
bhor bhayee uthh jaag rey bandey aey ae
rain gayee ab sonaa kyaa rey ae
bhor bhayee
Le pee zaraa aur pee
Posted on: February 28, 2024
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.
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Blog Day : |
5703 | Post No. : | 18221 |
‘Toofaan Mein Pyaar Kahaan’ (1966) was produced by S H Munshi and was directed by Phani Majumdar. Ashok Kumar and Nalini Jaywant were in the lead roles, supported by Jayshree Gadkar, Sailej Prakash, Lata Sinha, Madhumati, Achala Sachdev, Tarun Bose, Tiwari, Sundar, Bhagwan Sinha etc. This was the last film of Nalini Jaywant as a lead actor after which she had a long hiatus of about 15 years to reappear as a character actor in ‘Bandish’ (1980) and ‘Naastik’ (1983).
The film is available to watch in VCD format on one of the video sharing platforms. I have watched the film. The duration of the film is around 90 minutes. Those days, Hindi masala films would normally be around 2:30 hours of duration. It appears that VCD of the film is heavily edited out. There are some ‘disconnects’ in the story line. Also, as against 8 songs listed for the film, the VCD contains only 5 songs. Lastly, the sound quality of many dialogues in the film are so poor that it is difficult to understand them fully.
The film has an unusual story by the standard of mainstream Hindi films. Ashok Kumar, the hero works as driver for Tiwari who is a trader and also indulges in smuggling goods across the border from Tibet. Jayshree Gadkar, the side heroine, loves Ashok Kumar but he does not reciprocate because of his drinking habit and also his job which he dislikes. He does not want to spoil her life with him. Ashok Kumar rescues Nalini Jaywant from a gang of girl trafficker, falls in love with her and she reciprocates. Both wants to get married. However, Tarun Bose, who is the brain behind girl trafficking, plans to sell her across the border in the pretext of marrying her. Unaware of Tarun Bose’s antecedents, Ashok Kumar actually brings Nalini Jaywant and Tarun Bose together so that they can marry. In the end, Tarun Bose, in connivance with Tiwari kidnaps Nalini Jaywant to sell her across the border. However, the jeep taking them meets with an accident killing all the three. Jayshree Gadkar meets Ashok Kumar and reiterates her love for him. Both are united. Is it not an unusual story of love triangle in which the hero, Ashok Kumar loves the heroine, Nalini Jaywant but at the end, he gets united with side heroine, Jayshree Gadkar?
The detailed story of the film is as under:
Shamu (Ashok Kumar) is a truck driver of trader, Mahajan (Tiwari) who indulges in business of smuggled good across the border with Sikkim. Due to his good relationship with the Police Inspector, Shamu has saved Tiwari from check-post. He lives in a den with Mahajan and others when they are not on duty. However, Shamu feels bad about saving Mahajan for his smuggling activities. He would have stopped working for Mahajan, but he has to take care of Rami (Achala Sachdev), a Tibetan and her daughter because he had promised Rami’s husband just before his death that he would take care of them. He treats Rami as his sister and had helped her to start a tea shop where Tibetan traders take a break. Because of his kindness, Tibetans traders have high respect for Shamu. Mahajan takes the advantage of Shamu’s status in his trading activities as every truck that stops at Rami’s tea shop sells their goods to him.
In a different place, Shanta (Nalini Jaywant) is being readied to depart for her marriage with Raimohan (Tarun Bose) against her wish. She runs away from the house. However, she is picked by a person who happens to be Raimohan’s man, who was to take her for her marriage with Raimohan. Instead, he brings her to his house. When she realises that his intention is to molest her, she runs away from his house. Two men are after her to bring her back. In the shuffle, Shamu hears the scream from Shanta. He roughs up two men and gets Shanta released from them. In guise of her marriage, she was a part of girl trafficking across the border.
Since Shanta has nowhere to go, Shamu brings her with him and gives shelter in his den in an adjoining room. The next day, he tells her to find a place for her stay as his den is full of bad people. However, she finds Shamu a kind person. So, when Mahajan visits the den, for her safety, Shanta gives him the impression that she is the wife of Shamu. Tiwari believes her but Pulma (Jayshree Gadkar), who runs a tea shop and is in love with Shamu, does not believe that Shanta is Shamu’s wife.
Meanwhile, Shanta receives a letter from Raimohan that he would return very soon to take her across the border where they would get married. But she now knows as to what purpose she would be taken across the border. By now, Shamu has fallen in love with Shanta. He goes to Shanta to talk about the marriage and to propose her. While Shanta is not present in her room, he gets hold of the letter of Raimohan who had written to Shanta about their marriage. He assumes that Shanta is in love with Raimohan, and he has no right to ask for hand in marriage. He decides to help Shanta by finding Raimohan and to get them united.
When Shanta comes to know from Pulma that Shamu wants to marry her, she is eagerly waiting for Shamu to propose her. Instead, Shamu returns with Raimohan and tells them to reconcile. Shamu leaves her room. Shanta knowing very well as to what Raimohan is up to, she drives him out of her house. Next morning, before she could explain to Shamu about Raimohan, she finds that Shamu has left the place with Pulma.
Raimohan meets Mahajan who is his old friend. They conspire to kidnap Shanta and send across the border to sell her at a high price. However, Rami gives shelter to Shanta and sends Bahadur (Sundar) and Kancha (Sailej Prakash) in search of Shamu. However, Mahajan and Raimohan get the information about Shanta’s hiding in Rami’s house. Both visit Rami’s house and take Shanta with them. A complain is lodged in the police station by Bahadur about kidnapping of Shanta by Raimohan and Mahajan who are driving towards border crossing.
When Shamu comes to know about Shanta’s kidnapping, he takes out his truck with Pulma and follow the jeep in which Shanta is being taken. While driving on a jig jag hill road, the jeep roles down from road to valley killing Shanta, Raimohan and Mahajan. Pulma reiterates her love for Shamu and gets united.
From the story above, one would wonder as to what roles Sailej Prakash as Kancha and Lata Sinha as Gulu had in the film. I guess, they are another love pair who are working for Mahajan (Tiwari). There are two songs which are picturised on both of them. Some songs in the film appear without any link to the story. Probably, the scenes before the songs got edited out in the VCD of the film.
The film had 8 songs written by Prem Dhawan which were set to music by Chitragupt. Two songs have been covered on the Blog. As mentioned earlier, the film’s VCD contains only five songs. I am presenting one of the ‘missing’ songs, ‘le pee zaraa aur pee’ which is rendered by Mukesh. Surprisingly, the video clip of the song is available which means that the song was picturised and was retained in the film’s soundtrack. The song is picturised on Sailej Prakash. Lata Sinha is present during a major part of the song picturisation. The song gets an abrupt ending, but it appears from audio clip of the song that it was deliberate as after the abrupt end of the song, a dialogue follows.
Video Clip:
Audio Clip:
Song-Le pee zara aur pee (Toofaan Mein Pyaar Kahaan)(1966) Singer-Mukesh, Lyrics-Prem Dhawan, MD-Chitragupta
Lyrics
le pee
zaraa aur pee
le pee
zaraa aur pee
naa khushi rahe naa gham rahe
ae dil
ab hosh mein
naa tu rahe naa hum rahen
le pee
zaraa aur pee
pass hai may ki pari
main jahaan se door hoon
pass hai may ki pari
pass hai may ki pari
main jahaan se door hoon
kuchh na poochho mujhse koi
main nashe mein choor hoon
le pee
zaraa aur pee
naa khushi rahe naa gham rahe
le pee
zaraa aur pee
wo zamaana pyaar kaa
ek fasaanaa ho gayaa
wo zamaana pyaar kaa
wo zamaana pyaar kaa
ek fasaanaa ho gayaa
jaise chamkaa koi taaraa
aur kahin pe kho gayaa
le pee zaraa aur pee
naa khushi rahe naa gham rahe
le pee zaraa aur pee
hosh se achchi lagey
mujhko ye behoshiyaan
hosh se achchi lagey
hosh se achchi lagey
mujhko ye behoshiyaan
ab to yaaron ek main hoon
aur meri madhoshiyaan
Laal teraa jug jug jiye maataa
Posted on: February 12, 2024
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.
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Blog Day : |
5687 | Post No. : | 18204 |
“Mere Laal”(1966) was directed by Satyen Bose for S S Chitramandir, Bombay. This “social” movie had Dev Kumar, Indrani Mukherji, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Mishra, Abhi Bhattacharya, Jamaal, Samson, Rajkumar, Siddiqui, Ghulam Sabir, Master Anwar, Master Satyajeet, Madhuraj, Juthika devi, Darshan, Moolchand, Meenakshi, Mahesh, Ratan etc in it.
The movie had eight songs in it (including one multiple version song). Six of these songs have been covered in the past.
Here is the seventh song from “Mere Laal”(1966) to appear in the blog. The song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
The song is picturised on Mahesh Kumar aka Mahesh Kothare(playing a child beggar) with Mala Sinha also seen in the picturisation.
Lyrics of the song and other details were sent to me by Prakashchandra.
With this song, Majrooh Sultanpuri completes 1200 songs in the blog as a lyricist. Incidentally Majrooh Sultanpuri had completed his 1000th song as a lyricist with another song from this movie as well.
Video link (Longer song)
audio link:
Song-Laal tera jug jug jiye maataa (Mere Laal)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics(Based on video link)(Provided by Prakashchandra)
oo oo ooo ooo oo ooo
aaaa aaa aaa
aaa aaaa aaa
laal teraa jug jug jiye maataa
laal teraa jug jug jiye maataa aa
laal teraa jug jug jiye maataa
diyaa tere aangan kaa
raakhey vidhaataa
laal teraa jug jug jiye maataa
laal teraa aaa
chhaayee..ee ho chaahey chaandnee sooraj
ki chaahey dhoop ho oo
chhaayee..ee ho chaahey chaandnee sooraj
ki chaahey dhoop ho oo
chhaaon mein tere aanchal ke ae tere
pyaar ka roop ho
chaahey teree godee mein
chaahey kaheen door se
chaahey teree godee mein
chaahey kaheen door se
rahe teri aanchal ki shobhaa badhaataa
laal teraa jug jug jiye maataa
laal teraa aaa
raam kare ho o o jawaan to
kaam raakhey achchey hee kaam se
raam kare ho o o jawaan to
kaam raakhe achchey hee kaam se
desh kaa naam oonchaa ho maa tere
betey ke naam se
maathey pe himaalaya ke badee anubhaan(?) se
maathey pe himaalaya ke badee anubhaan(?) se
banke jawaahir rahey jagmagaataa
laal teraa jug jug jiye maataa
laal teraa aaa
meraa bhee thhaa aa ik aangan
woh galee jaaney kahaan thhee
meraa bhee thhaa aa ik aangan
woh galee jaaney kahaan thhee
kyaa jaanoon kaisi lekin aisee hee
meree bhi maa thhee
buraa na manaanaa
dekhee jo teri maamtaa aaa
buraa na manaanaa
dekhee jo teri maamtaa
yoon hee meraa bachpan
machal gayaa maataa
laal teraa jug jug jiye maataa
diyaa tere aangan kaa
raakhey vidhaataa
laal teraa jug jug jiye maataa
laal teraa aaa aa aaa aaa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5640 | Post No. : | 18131 |
Today’s song is a parody song from the film Ham kahan jaa rahen hain-1966.
This long titled film was made by Filmistan, which was once upon a time famous for for giving excellent, entertaining, musical and meaningful films like Eight days, Shikari,Do Bhai, Nadiya ke paar, Anand math, Anarkali, jagriti, Nagin, Shaheed, Shabistan, Sargam, Munim ji, Tumsa nahi dekha, paying Guest, nastik Aab E Hayat, Hum sab chor hain etc.
When Sashadhar Mukherjee left Filmistan to start his own studio, Filmalaya to launch his son Joy Mukherjee, the company was bought from the owners (S.mukherjee and Ashok Kumar0, by a Non Filmi shrewd businessman-Tolaram Jalan. After that films which came out from Filmistan were not in keeping with its past reputation, glory and tradition. The standard went down in subsequent years. The last film to come out from old Filmistan was Dooj ka Chaand-1964, directed by Nitin Bose and then the studio wound up. Now it is only a shooting studio under the management of one Jasraj Purohit and outside producers take it on rent to shoot their films.
Today’s film HKJRH (short form of the long title)-1966 was directed by Nitin Bose and the music was by basant prakash – the younger brother of the yesteryear music Director Khemchand prakash (12-12-1907 to 10-8-1950), who gave us memorable films like Mahal, tamasha, Muqaddar, Rinjhim, Saawan aaya re, Ziddi, Gaon, Mulaqat, Sindoor, Prabhu ka ghar, Bhanwara, tansen, Chandni, fariyaad, Shaadi, Ummeed etc.
Basant Prakash was born on27-1-1928 and died on 19-3-1996. I remember having seen a discussion on this Blog about his date of death. Most people thought that he died in the 50’s, whereas it was his elder brother Khemchand Prakash who had died then, before his most famous film Mahal was released. It was released just 10 days after his death. His name will always be remembered with the evergreen songs of his last film Mahal-1950.
Basant Prakash gave music to only 11 films. His first film was Jai Shankar-1951 and the last was Jyot Jale-1973. He had composed only 1 song for the film Anarkali-1953, when he left the film due to differences with the Filmistan people (later first Hemant Kumar and then finally C.Ramchandra took over and completed the film’s music.). Basant Prakash had 2 wives and 8 children. After leaving the films, he returned to his hometown in Rajasthan.
The songs of this film were written by Qamar jalalabadi. On the first glance it looks like a Muslim name and naturally so, because in that period, many lyricists were Muslims. However there were also Hindus having a command over Urdu, in addition, there were poets who wrote songs in pure Hindi too.
Om Prakash Bhandari (9 March 1917 – 9 January 2003), better known as Qamar Jalalabadi, was a poet and lyricist . He composed the title track of the popular television serial Vikram Aur Betaal.
He was born as Om Prakash Bhandari in a Punjabi family on 9 March 1917 in Jalalabad, a village near Beas in Amritsar district, Punjab, India. Right from the age of seven, he started writing poetry in Urdu. There was no encouragement from home, but a wandering poet named Amar Chand Amar met him in his hometown and encouraged him to write, recognising his immense talent and potential. He also gave him the pen name of Qamar which means moon, and Jalalabadi was added for his native town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, he embarked on his journalistic career journey by writing for Lahore-based newspapers like Daily Milap, Daily Pratap, Nirala, Star Sahakar etc.
Attracted by the promise of a career in the film industry, Qamar Jalalabadi came to Pune in the early 1940s. In 1942, he wrote lyrics for his first film Zamindar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya Mein Garibon Ko Aaram Nahi Milta”, which also had a line or two written by writer and poet Behzad Lucknawi.
Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades. His songs were sung by many notable singers including S. D. Batish, Noor Jehan, G. M. Durrani, Zeenat Begum, Manju, Amirbai Karnataki, Mohammad Rafi, Talat Mahmood, Geeta Dutt, Suraiya, Mukesh, Manna Dey, Asha Bhosle, Kishore Kumar and Lata Mangeshkar. He worked with many popular composers including S. D. Burman and Sardar Malik.
As a lyricist, Qamar Jalalabadi was very versatile. On one hand he wrote mesmeric duets like “Sun Meri Sawari Mujhko Kahin Tum Bhool Na Jaana…” sung by Lata Mangeshkar and Mohammed Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “Khush Hai Zamana Aaj Pehli Tarikh Hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song became very popular and was played on Radio Ceylon on the first of every month for decades, and it probably continues so.
The film Howrah Bridge (1958) skyrocketed his career as lyricist to unprecedented heights. Songs like “Mera Naam Chin Chin Chu” (Geeta Dutt) and “Aaiye Meherbaan, Baithiye Jaanejaan….” (Asha Bhosle) became highly popular.
In his long career span he worked for several film companies like Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C. Sippy Films, Shri Shakti Films, Mitra Productions and many more.
He was one of the founder members of prestigious organisations like Film Writers Association & IPRS in Mumbai. The music composers he worked with were: Ghulam Haider, G. Damle, Pandit Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C. Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O. P. Nayyar, Kalyanji-Anandji, Sonik–Omi, Uttam Singh and Laxmikant–Pyarelal as well. Qamar Jalalabadi wrote song lyrics for 155 films and wrote a total of 709 songs in his long career. He was a poet (shayar) and participated in several mushairas all over India.
In his personal life, Jalalabadi was a highly religious person and he chanted excerpts from the Bhagavad Gita, the Koran as well as the Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. He once gifted a bungalow in Khar, Mumbai to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with his own family. He and his wife Leelawati had seven children.
He had several friends and hundreds of fans whom he called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. He replied to all his fan mail and judiciously sent an autographed photo as well. ( I have used information from an old book Filmi geetkar, wiki, muVys, HFGK and my notes for this article).
Film Ham Kahaan Jaa Rahe Hain-66 had a cast of debuting lead pair of Neena and Prakash, Abhi Bhattacharya, Badri Prasad, Leela Mishra, Jagirdar, Vithal Panchotia, Nadira, Rajan Haksar (ex husband of Manorama and father of actress Rita Haksar), Narbada Shankar, Jankidas and many others. Readers will notice that barring the lead pair, almost all the major actors were from the early era or the earlier generation. For example, Badri Prasad started his career in 1932, Abhi Bhattacharya in 1947, Leela Mishra in 1935, Panchotia in 1932, Gajanan Jagirdar in 1932 etc. Rajan Haksar and Nadira were also old actors. All these actors were in the evening of their careers. possibly they were taken because of Nitin Bose, who was always sympathetic about old artistes.
The story of this film was prepared by the “Story department of Filmistan”. Their intention was very good and they wanted to stress the importance of Indian tradition and values as following and copying the western styles at the cost of our own culture was not good. But then only good intentions or a good story is not enough to make a good film. if the film is not entertaining, all the scenes seem to be a crude way to stress your point. The handling of the story was faulty and the film flopped badly.
The story, in short, was……
Badri Prasad and Leela Mishra, visit their son in a city after a long time. What they see is, due to the neglect of the daughter in law-nadira- and the son-Rajan haksar- the children felt alienated from them and were going bastray. The old couple try and somehow manage to give the right direction to the family but they are insulted by the bahu, with the son helplessly watching. Badri Prasad and Leela Mishra leave the house. The children also go with them. After some time their daughter-heroine- falls sick and dies. The son and bahu realise their mistake too late.
Indian audiences generally like a happy ending. Gone are the days of the 30’s and the 40’s when Saigal and Dilip Kumar died in the films and still the films were hits There used to be immortal music and a strong story content. Without these 2 important elements, no wonder Ham Kahaan Jaa Rahe Hain-66 was a flop.
Today’s song is sung by Mahendra Kapoor, Krishna Kalle and chorus. It is a two part song in one video. The parodied songs can be easily identified by our readers. Enjoy the video….
Song- Hamen to maar diya mil ke duniyaawaalon ne (Ham Kahaan Jaa Rahe Hain)(1966) Singers- Mahendra Kapoor, Krishna Kalle, Lyricist-Qamar Jalalabadi, MD- Basant Prakash
Unknown male voice
chorus
Both
Lyrics
haaye
hamen to maar diya
arre kisne bhai
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
aaj Hindustaan ke sab shaayar
badnaseebon ki baat karte hain
ya likhenge ya gareebon ki baat karte hain
haan
ya haseenon ki zulf mein uljhen
ya rakeebon ki baat karte hain
haan aan naujawaanon ka gham likhe na koi
ham pe kya hai sitam
likhe na koi
haan
hampe kya hai sitam likhe na koi
hamen to maara hai
kisne bhai
arre bhai kya bataayen
hamen to maara hai lecture sunaane waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
ghar ki haalat ko hoo-bahoo suniye
baap bete ki guftgoo suniye
haan
haan kal kaha thha maine ye daddy se
laao paise hamaari arz hai ye
tumhen paala tumhaare daddy ne
hamen paalo tumhaara farz hai ye
haan
tum maheene mein tees dete ho
nakdi do din hi paas rahti hai
o atthaaees din maheene mein
jeb meri udaas rahti hai
yaar dete hain mujhko daawat roz
main bhi ek din unhen bulaata hoon
haan aan jaaun hotel mein baadshah bankar
aur kangaal banke aata hoon
ae mere baap tujhe apne hi bete ki kasam
phir mujhe apne khazaane ka sahaara de de ae
tees ke note meri jaan dobaara de de
ae mere baap
haan
daddy bole mere azeez ho tum
ek number ke badtameez ho tum
haan
ek number ke badtameez ho tum
sunaayee gaaliyaan
arre kisne bhai
kya bataaun mere yaar
sunaayee galiyaan kya kya sunaane waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
hamen to maar diya
haaye
apne teacher bhi kya kamaal ke hain
kya bataaun ajab khayaal ke hain
haan aan
apne teacher kabhi na khush honge
hamne to aazmaa ke dekh liya
unka paara kabhi utarta nahin
hamne maska lagaake dekh liya
tight patloon se unhen chidh hai
hero cut baal kaat khaate hain
haan chup raho to wo kehte hain goongi
kuch zabaan kholen daant khaate hain
jitni insult meree karte hain
utni insult to khuda ne bhi
kabhi shaitan ki na kee hogi
baat karne pe bhi hai paabandi
aah bharne pe bhi hai paabandi
haan aan
ajee jeene ka jikr kya keeje
yahaan marne pe bhi hai paabandi
haan aan
hamne ghabra ke ye soch thha ke mar jaayenge
mar ke bhi mil gaye to teacher ke ghar jaayenge
haan
mar ke bhi ?? teacher ke ghar jaayenge
haaye
dimaag chaata hai
arre kisne pyaare
na poochh mere dulaare
dimag chaata hai inke safed baalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
arre kisne bhai
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
aha
kabhi ustaadon ne kabhi gharwaalon ne
kabhi ustaadon ne kabhi gharwaalon ne
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.
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Blog Day : |
5579 | Post No. : | 18052 |
“Tasveer”(1966) was produced and directed by JBH Wadia for Wadia Movietone, Bombay. This movie had Kalpana and Feroz Khan in lead roles. It also had Helen, Sajjan, Nazir Husain, Lalita pawar, Sabina, Raj Mehra, Rajender Nath, Indira Bansal, Arti, Dalpat, Bismilla, Gaikwad, Badshah, Darshan, Kishan Kumar, Prem and Dog named Rover(Trainer Kamal) etc in it.
“Tasveer”(1966) had eight songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This song is sung by Mahendra Kapoor and Suman Kalyanpur. D N Madhok is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a joyous song on Feroz Khan and Kalpana after Nazir Hussain (playing ladki ka baap) agrees to their wedding after the loyal dog tiger certifies that Feroz Khan is a genuine person. I have not watched the movie, but I am sure the dog is the most good looking creature in the movie as far as I am concerned. 🙂
Lyrics of the song were sent to me by Prakashchandra.
Audio
Video
Song-Chale kahaan ho (Tasveer)(1966) Singers-Mahendra Kapoor, Suman Kalyanpur, Lyrics-D N Madhok, MD-C Ramchandra
Both
Lyrics (Provided by Prakashchandra)
aayyoaayyiyyo hho o o o ho o o o
aayyiyyo hho o o o ho o o o
chaley kahaan ho
chaley kahaan ho
meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
na door jaao ab itney qareeb aake
main dekh loon kaheen tum bhi to naheen aisey ae
jo ghair bann`te hain
apni lagee bujhaake
jo ghair bann`te hain
apni lagee bujhaake
main dekh loon oon oon
jawaab chaahiye iskaa to paas aao
jawaab chaahiye iskaa to paas aao
meri nazron se poochh lo nazar milaa ke
ho o o ho
meri nazron se poochh lo nazar milaa ke
nazar fareb hai ae
nazar fareb hai
kaun iss kaa aitbaar karey
nazar fareb hai
kaun iss kaa aitbaar karey
abhi milaayi abhi chal diye churaa ke ae
abhi milaayi abhi chal diye churaa ke
chaley kahaan ho meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
main dekh loon oon oon
kahaaniyaan sunee sunaayee keh rahee ho
kahaaniyaan sunee sunaayee keh rahee ho
jo baat sach hai dhadkanon se sunn lo aa ke
aa aaa aa aa aa
jo baat sach hai dhadkanon se sunn lo aake
ye dil meraa hai
ye dil meraa hai
magar dhadkanein tumhaari hain ae
ye dil meraa hai
magar dhadkanein tumhaari hain ae
to mil gayee mujhe duniyaa hai tumein paa ke
to mil gayee mujhe duniyaa hai tumein paa ke
chaley kahaan ho meri dhadkanein badhaa ke ae
na door jaao ab itney qareeb aake
chaley kahaan ho o o
Koi Na Tera Saathi Ho
Posted on: August 5, 2023
This article is written by nahm, 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.
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Blog Day : |
5496 | Post No. : | 17937 |
Rafi Sahab’s Legendary Associations – 12
maiñ akelā hī chalā thā jānib-e-manzil magar
log saath aate ga.e aur kārvāñ bantā gayā
मैं अकेला ही चला था जानिब ए मंज़िल मगर
लोग साथ आते गए और कारवां बनता गया
(Majrooh Sultanpuri)
dil nā-umīd to nahīñ nākām hī to hai
lambī hai ġham kī shaam magar shaam hī to hai
दिल नाउम्मीद तो नहीं नाकाम ही तो है
लम्बी है ग़म की शाम मगर शाम ही तो है
(Faiz Ahmad Faiz)
hayāt le ke chalo kā.enāt le ke chalo
chalo to saare zamāne ko saath le ke chalo
हयात ले के चलो कायनात ले के चलो
चलो तो सारे जमाने को साथ ले के चलो
(Makhdoom Mohiuddin)
rañj se ḳhūgar huā insāñ to miT jaatā hai rañj
mushkileñ mujh par paḌīñ itnī ki āsāñ ho ga.iiñ
रंज से खूगर हुआ इंसान तो मिट जाता है रंज
मुश्किलें मुझ पर पड़ीं इतनी के आसान हो गईं
(Mirza Ghalib)
baare duniyā meñ raho ġham-zada yā shaad raho
aisā kuchh kar ke chalo yaañ ki bahut yaad raho
बारे दुनिया में रहो ग़म-ज़दा या शाद रहो
ऐसा कुछ कर के चलो यहाँ के बहुत याद रहो
(Meer Taqi Meer)
koshish bhī kar umiid bhī rakh rāsta bhī chun
phir is ke ba.ad thoḌā muqaddar talāsh kar
कोशिश भी कर उम्मीद भी रख रास्ता भी चुन
फिर इस के बाद थोड़ा मुकद्दर तलाश कर
(Nida Fazli)
apnā zamāna aap banāte haiñ ahl-e-dil
ham vo nahīñ ki jin ko zamāna banā gayā
अपना ज़माना आप बनाते है एहल ए दिल
हम वो नहीं के जिनको ज़माना बना गया
(Jigar Moradabadi)
chalā jaatā huuñ hañstā kheltā mauj-e-havādis se
agar āsāniyāñ hoñ zindagī dushvār ho jaa.e
चला जाता हँसता खेलता मौज ए हवादिस से
अगर आसानीआं हों ज़िंदगी दुश्वार हो जाये
(Asghar Gondvi)
ye kah ke dil ne mere hausle baḌhā.e haiñ
ġhamoñ kī dhuup ke aage ḳhushī ke saa.e haiñ
ये कह के दिल ने मेरे हौसले बढ़ाए हैं
ग़मों की धूप क आगे खुशी के साये हैं
(Mahirul Qadri)
pyāso raho na dasht meñ bārish ke muntazir
maaro zamīñ pe paañv ki paanī nikal paḌe
प्यासों रहो ना दश्त में बारिश के मुंतज़िर
मारो ज़मीं पे पाँव के पानी निकाल पड़े
(Iqbal Sajid)
baḌh ke tūfān ko āġhosh meñ le le apnī
Dūbne vaale tire haath se sāhil to gayā
बढ़ के तूफान को आगोश में ले ले अपनी
डूबने वाले तेरे हाथ से साहिल तो गया
(Abdul Hamid Adam)
yaqīn ho to koī rāsta nikaltā hai
havā kī oT bhī le kar charāġh jaltā hai
यकीं हो तो कोई रास्ता निकलता है
हवा की ओट भी लेकर चराग़ जलता है
(Manzoor Hashmi)
tū samajhtā hai havādis haiñ satāne ke liye
ye huā karte haiñ zāhir āzmāne ke liye
तू समझता है हवादिस हैं सताने के लिए
ये हुआ करते हैं ज़ाहिर आज़माने के लिए
(Syed Sadiq Husain)
kashtiyāñ sab kī kināre pe pahuñch jaatī haiñ
nāḳhudā jin kā nahīñ un kā ḳhudā hotā hai
कश्तीयां सब किनारे पे पहुँच जाती हैं
नाखुदा जिन का नहीं उनका खुदा होता है
(Ameer Minai)
mere junūñ kā natīja zarūr niklegā
isī siyāh samundar se nuur niklegā
मेरे जुनून का नतीजा ज़रूर निकलेगा
इसी सियाह समुंदर से नूर निकलेगा
(Ameer Qazalbash)
There are few forms of expression in this civilization, more expressively nuanced than Urdu poetry. The number of amateur poets among the millennials trying their hand at this form of creativity are staggering. There is hope for the ‘tehzeeb’ to flourish. I am able to visualise the coming generation of ghazal/sufiana & qawwali vocalists to continue this tradition. I have quoted the above asha’ar as a sample of urdu motivating poetry. It is a sea out there of such poetry. I have given a deliberate miss to Allama Iqbal’s qata’at, which have graced the pages of calendars & almanac’s for more than a century now.
Calender of every new year, which were booked and bought weeks or months ago in anticipation of the coming new year, have also lost their importance. ‘Kalnirnay’ for example, which came in all languages and gave the various information about different festivals and customs.
Someone gifted me a table décor piece a few weeks ago, which is a wooden box/shelf, open from the top and front. It has 4 cubes of metal with name of months and two larger wooden cubes for the dates, with numerical, which can be set to display the date.
The paper calendar would serve us for the whole year, with each page displaying 1, 2 or 3 months. Over the decades, these old faithful have undergone many changes and upheavals, to survive till now. Just like wristwatches, which have become mere ornaments or fashion statements. Some people still buy and wear them, some are having collection of wrist watches. Wall clocks have weathered the storm better, and every household still has them. But I have found it difficult to find shops selling good quality wall clocks, rather than the ornament ones which are available in gift shops. In effect, if I want a wall clock, I got to gift one to myself. Which brings me back to the gift of décor piece. I like it a lot, as I have a weakness for wooden décor pieces.
Back to the starting point of this post, which is Majrooh Sultanpuri’s Sha’iri . I had given up the hope for finding a Rafi song by SD Burman, to include in this series. But still there is a ray, which kept the hope alive that some Rafi recording will appear, from somewhere. Even the last snippets of small renditions from ‘Pyaasa’ were posted in the blog.
But I am beyond delight to find this wonderful rendition and recording of the peppy tune SD Burman for the Guru Dutt film ‘Baharen Phir Bhi Aayengi’ (1966). The story behind this recording, going into oblivion all these decades, in here:
- Ye Dil Na Hota Bechara – In an interview with lyricist Gulzar, RD Burman revealed that he had adapted the tune of the whistle in the theme of the film ‘The Bridge On The River Kwai’ (1957) for the mukhda of this song. The same tune was used in the title song of the film ‘Paltan’ (2018).
- Yeh Dil Na Hota Bechara – SD Burman had offered the tune of this song to Guru Dutt for the film ‘Baharen Phir Bhi Aayengi’ (1966). Not liking the tune, Guru Dutt had declined it and gone ahead with OP Nayyar instead. •
- “Ye Dil Na Hota Bechara” – Guru Dutt first approached S.D. Burman to compose the music for this film. According to Raju Bharatan, Dutt did not like the title tune composed by Burman and opted for OP Nayyar instead. SD Burman later used this tune for “Ye Dil Na Hota Bechara” (‘Jewel Thief’, 1967). Some account says that Dutt opted for Nayyar due to Burman’s prolonged illness. A close associate/friend of RD Burman had saved this recording and released it to the public recently. This is likely written by Majrooh Sultanpuri, so it is a classic combination of Rafi-Majrooh-SDB, which is a must for any list of ‘Legendary Associations of Rafi Sahab’. As necessary as a Lata-Rafi song or a Rafi-Shakeel-Naushad song, I have hopes of finding Rafi songs of these teams too, as a couple of songs still are to be covered in the blog.
A list of all songs of combination of Rafi-Majrooh-SDB is in the table below.
| Sr No | Songs | Film | Year | Singer |
| 1 | Aaja Panchi Akela Hai | Nau Do Gyarah | 1957 | Mohd Rafi, Asha Bhonsle |
| 2 | Kali Ke Roop Mein Chali Ho Dhoop Mein Kahn | Nau Do Gyarah | 1957 | Mohd Rafi, Asha Bhonsle |
| 3 | Achha Ji Main Haari Chalo Maan Jaao Na | Kala Pani | 1958 | Mohd Rafi, Asha Bhonsle |
| 4 | Hum Bekhudi Mein Tum Ko Pukare Chale Gaye | Kala Pani | 1958 | Mohd Rafi |
| 5 | O Chupne Wale..Dilwale Ab Teri Gali Tak | Kala Pani | 1958 | Mohd Rafi, Asha Bhonsle |
| 6 | Gagri Sookhi Lab Pyase..Sambhal Ke.. Ye Duniya Hai | Sitaron Se Aage | 1958 | Mohd Rafi |
| 7 | Zara RukJa O Pyare Ruk Ja | Sitaron Se Aage | 1958 | Mohd Rafi |
| 8 | Dekhiye Dekhiya Gaur Se Phir | Solva Saal | 1958 | Mohd Rafi |
| 9 | Dekho Ji Mera Haal Badal Gayee Chaal | Solva Saal | 1958 | Mohd Rafi, Asha Bhonsle, Mubarak Begum |
| 10 | Andhe Ne Bhi Sapna Dekha Kya Hai Zamaana | Sujata | 1959 | Mohd Rafi |
| 11 | Deewana Mastana Hua Dil | Bambai Ka Babu | 1960 | Mohd Rafi, Asha Bhonsle |
| 12 | Pawan Chale To Uthe Nadi Mein Lehar Si | Bambai Ka Babu | 1960 | Mohd Rafi, Asha Bhonsle |
| 13 | Saathi Na Koi Manzil Diya Hai Na Koi Mehfil | Bambai Ka Babu | 1960 | Mohd Rafi |
| 14 | Hum To Hain Tum Par Dil Se Fida | Bewaqoof | 1960 | Mohd Rafi |
| 15 | Chupke Se Mile Pyase Pyase Kuchh Hum Kuchh Tum | Manzil | 1960 | Mohd Rafi, Geeta Dutt |
| 16 | Dil To Hai Deewana Na Maanega Bahana Na | Manzil | 1960 | Mohd Rafi, Asha Bhonsle |
| 17 | Aaj Ka Din Bhi Pheeka Pheeka | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
| 18 | Akela Hun Main Is Duniya Mein | Baat Ek Raat Ki | 1962 | Mohd Rafi |
| 19 | Jo Hain Deewane Pyar Ke | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
| 20 | Jo Ijaazat Ho To Ek Baat Kahun | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
| 21 | Sheeshe Ka Ho Ya Patthar Ka Dil | Baat Ek Raat Ki | 1962 | Mohd Rafi, Lata Mangeshkar |
| 22 | Ghabra Kar Tumse Mohabbat Kar Baithe | Dr Vidya | 1962 | Mohd Rafi, Lata Mangeshkar |
| 23 | Main Kal Phir Milungi Isi Gulistaan Mein | Dr Vidya | 1962 | Mohd Rafi, Lata Mangeshkar |
| 24 | Yun Hans Hans Kar Dekho Na Idhar | Dr Vidya | 1962 | Mohd Rafi, Asha Bhonsle |
| 25 | Aise To Na Dekho Ke Humko Nasha Ho Jaaye | Teen Deviyan | 1965 | Mohd Rafi |
| 26 | Kahin Bekhayal Hokar Yun Hi Chhoo Liya Kisi Ne | Teen Deviyan | 1965 | Mohd Rafi |
| 27 | Dil Pukare Aare-3 O Abhi Na Ja Mere Saathi | Jewel Thief | 1967 | Mohd Rafi, Lata Mangeshkar |
| 28 | Junali Raat Ma..Aaj Ko Jhunli Raat Maa | Talash | 1969 | Mohd Rafi, Lata Mangeshkar |
| 29 | Palkon Ke Peeche Se Kya Tumne Keh Daala | Talash | 1969 | Mohd Rafi, Lata Mangeshkar |
| 30 | Teri Bindya Re Re Haye Teri Bindiya Re | Abhimaan | 1973 | Mohd Rafi, Lata Mangeshkar |
So, the present song recorded for ‘Baharen Phir Bhi Aayengi’ becomes the 31st song. The list starts with “Aaja Panchhi Akela Hai” from ‘Nau do Gyarah’ (1957) to end with “Teri Bindiya Re” from ‘Abhiman’ (1973). On way this team gave us such memorable duets “Palkon Ke Peechhe Se Kya Tum Ne Keh Daala“, “Dil Pukaare Aa Re Aa Re Aa Re“, “Deewaana Mastaana Hua Dil” and “Achcha Ji Main Haari Chalo Maan Jaao Na“, and soulful solos as well which are all time classics. Individual tally of this team:
| SD Burman (1946-1976) |
645 |
87 movies (666) |
| Majrooh Sultanpuri |
1171 |
2053 |
| Rafi |
3237 |
4846 |
SDB-Rafi songs are 105+ and Rafi-Majrooh songs are just short of 400. For SDB’s 666, Rafi songs at 105 are a little bit less than what Lata and Asha must have, around 150 each or less at a guess. Geeta Dutt will also account for some 100 odd songs or may be more. Kishore Kumar could also be around 100 or a little more, as he was giving playback only to Dev Anand for some time. As for Majrooh, at 2053 career songs he is the poet with 3rd largest number, first being Sameer and second Anand Bakshi. For Rafi Saab 400 out of 2053 is very good turnout.
This new song, which was recorded as a sample title song for ‘Baharen Phir Bhi Aayengi’ is also an example of how SDB could mould Rafi Saab’s singing to sound like a solo happy traveler, yet so soft and so convincing in the optimistic expressions.
This newfound song gives hopes for other songs, surfacing sooner or later. I am waiting along with countless Rafi Saab fans, for the discovery of such new Rafi songs.
Song – Koi Na Tera Saathi Ho (Baharen Phir Bhi Aayengi) (1966) (unused) Singer – Mohammed Rafi, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Lyrics
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
tere ea
peechhe toofaanon ki zameen hai ae
tere ea
aage bahaaron ka yaqeen hai ae
ho ooo
tere ea
peechhe toofaanon ki zameen hai ae
tere ea
aage bahaaron ka yaqeen hai ea ae
chhaaye
jo toofan to chhaane de ea
bahaarien phir bhi aayengi ee
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
ye jo oo
raahon mein kaanton bhari dhool hai ea
tere ea
dil ke lahu se yahi phool hai
ye jo oo
raahon mein kaanton bhari dhool hai ea
tere ea
dil ke lahu se yahi phool hai
jaayen bahaaren to jaane de
bahaarien phir bhi aayengi
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
jaise ea
chalta sitaara nahi theharta
raahi ee
chal ke dobaara nahi theharta
jaise ea
chalta sitaara nahi theharta
raahi ee
chal ke dobaara nahi theharta
pyaare woh manzil to aane de
bahaarien en
phir bhi aayengi
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
तेरे॰॰ए
पीछे तूफानों की ज़मीन है
तेरे॰॰ए
आगे बहारों का यकीन है
हो ओ
तेरे॰॰ए
पीछे तूफानों की ज़मीन है
तेरे॰॰ए
आगे बहारों का यकीन है
छाए जो तूफान तो छाने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
ये जो॰॰ओ
राहों में काँटों भरी धूल है
तेरे॰॰ए
दिल के लहू से यही फूल है
ये जो॰॰ओ
राहों में काँटों भरी धूल है
तेरे॰॰ए
दिल के लहू से यही फूल है
जाएँ बहारें तो जाने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
जैसे॰॰ए
चलता सितारा नहीं ठहरता
राही॰॰ई
चल के दोबारा नैन ठहरता
जैसे॰॰ए
चलता सितारा नहीं ठहरता
राही॰॰ई
चल के दोबारा नैन ठहरता
प्यारे वो मंज़िल तो आने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
- In: "Friendship" song | Blog century song | Century songs for the blog | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Hemant Kumar songs | Lyrics contributed by readers | Manna Dey songs | MD-Singer Song | Post by Sudhir | S Balbir song | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1966 | Yearwise breakup of songs
- 10 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is the 17,900th song on our blog.
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Blog Day : |
5477 | Post No. : | 17900 |
Pray, what may be the most dear thing in this life?
Something that will never grow old, or stale. Something that will never be lost in life. Something that will only grow fonder with the passage of time. What is that thing?
Memories of Happiness. The most wonderful possession a person can have. The most valuable treasure that will last a lifetime. A treasure that will never diminish. It will only grow with the passage of time. For all the happy moments we experience and we relish, as the moments pass, they become memories. To stay in our treasure chest of memory cells, forever. To be visited and revisited over passing years, the thoughts of the happy times that are in the past now, bring back smile to the lips, a twinkle in the eyes, a fond quickening of the heart beats, as these happy memories flash on our mind’s screen, as and when.
These Memories of Happiness get created when one passes through unforgettable moments of happiness. Especially moments those are enjoyed with people who are near and dear to the heart – dearly loved ones, family and friends. And this basket of Happiness Memories keeps on filling up more and more.
Sometimes rare events happen in life that bring more happiness to the mind. About six weeks ago, I was part of a gathering of very dear friends. It was a rare and opportune get together. And I came away from this meeting with my arms and mind loaded with more Memories of Happiness that I felt I could accommodate in my memory banks. But these memory banks are unconditionally expandable. They create more space to store, the more we bring in to store.
The moments were rare, the gathering was joyful and the memories of that day are divine – well, almost. The occasion was the get together of the Bandwagoneers of the ASAD blog. Many travelled long distances to be present, to participate and to share. All of us keep in touch on a fairly regular, almost daily basis otherwise. But actual face meetings, where one can see and touch and hear the sound live – such occasions have been very rare. For one reason that the entire team is so spread out across the nation that it is not easily feasible to make such meetings happen.
But make it happen this time, we did. It seems that with the passage of time, our options and opportunities to travel are actually becoming more and more limited. I remember Atul ji used to visit Delhi, if not frequently, but often, for his work at the Railways Ministry in Delhi. Likewise, Mahesh ji has earlier traveled to Delhi on work a couple of times. I remember pre-pandemic days when Bakhshish ji and I would be visiting Bombay at least twice a year or so. Some things changed with the pandemic. The necessity to telecommute brought in rapid advancement in networking, and the connectivity requirements brought in many a software that support virtual meetings and conferencing across geographies. The communication patterns changed and transitioned so much that the need for humans to travel out physically has been reduced. And this physical transformation also fuelled a mental transformation, wherein starting from professional work and permeating into personal lives also, people have started preferring remote conferencing.
Ah but, where the matters of heart are involved, where the friends and family need to converse, there is still this urge to be able to meet in person and have a face to face interaction.
And so it finally took shape and happened. For Bakhshish ji and myself, coming to Bombay is such a fulfilling and a rejuvenating experience. There is a large friend circle, and there is an interaction need that it seems only natural that we would like to visit there. Circumstances prohibited us from travelling for many years, but then the urge for meeting friends in person just grew over the past few months. Once we could firm up travel plans, after that the flow of events simply took shape and took over. It is just like one says – you resolve to get something done, and just that resolve makes so many things happen to facilitate desired endeavors and activities.
After a flurry of back and forth messages, going up and down, both on the networks and in terms of actual planning, we finally zeroed in on the schedule and venue. Information was shared with all concerned members of the bandwagon, and it was then just a go.
Friday, the 2nd of June, the meeting time set at 11 am, and we were to converge at dear Arun ji’s place at Four Bungalows. Team members consented to join, and expectations were set up with eagerness. And the icing on the cake was the surprise arrival of some, that added so much more joy.
Bakhshsish ji and I were staying with Subhash Bhai at Matunga. Time to reach Arun ji’s place was 11 am. Subhash Bhai agreed to join us, and so we three travelled to Andheri and on to Versova. It was a kind of unstated decision that since Bakhshish Singh ji was accompanying us, our target to reach Arun ji’s place should be 12 noon. 😀 And so we arrived precisely at 12 noon, give or take a few minutes (as is chalta hai 😉 ).
As we rang the bell, with the expectation to see a round bespectacled face with a big smile, the opening turned into a huge pleasant surprise. We did see a bespectacled face welcoming us with a beaming smile, albeit this face belonged to Nalini ji. And that was the big happy surprise because in earlier communications, she had expressed inability to join and had declined the invite. And this big happy surprise set the ball rolling for the many hours of togetherness that followed.
Entering the apartment, we found practically all expected attendees to be present. There was a lot of cheer and handshakes and hugs and back thumping all around. It is always such a pleasure to meet Arun ji, for a there is a special feeling in my heart for him. When I meet him, I am always so comforted to see his smiling face and smiling eyes above the thick bushy moustache that I immediately have to hug him. So after the joyful Nalini ji surprise to start with, I had the hug time with Arun ji, and then we proceed into the apartment.
Folks that were already present – Sadnand ji, Nitin ji, Avinash ji. And Satish ji. It is always such a pleasure to meet Sadanand ji with a big smile on his face, always ready with a crack to make you laugh. Nitin ji is a dear person to meet as always. And then the first time face meeting with Avinash ji. Avinash ji was supposed to have joined one of our earliest gangouts in Bombay, but inclement weather kept him confined that time, and he could not travel. But make it he did, this time. In fact he had arrived the previous evening and had stayed with Arun ji.
I mentioned these three bandwagoneers together, for the reason that all three have faces that are almost spherical with partial balding already taking roots on the pate. And then I come to Satish ji. Dear dear Satish ji, a person that I have been so eagerly looking forward to meet. In fact, I was also very much wanting to and almost half expecting to see Pradeep Shetty ji also. Ah but yes, he did make a virtual appearance later in the proceedings. I will come to that.
There is a special bonding I feel with these two gentlemen, whom I have not met in person before. But both are very special for me, in that there is a daily very special greetings exchange with these two very early in the mornings. The timing and connect is so synchronized and so definite like the sunrise itself, that at some earlier time, I mistakenly addressed them by the other person’s name. well, it has not happened now of late. And so, yes, meeting with Satish ji was such a special thing for me that day.
The quorum is always complete with the arrival of Bakhshish Singh ji (for obvious reasons) no matter how many are present or will join. And so we settled down and the conversations flowed. We were gathered that day with an absence of any agenda – a conscious decision that Arun ji had discussed earlier. And so we were there, and waiting now for the other expected joinees.
We were waiting for three very special people to come. The most important – Atul ji, our fearless leader. He had informed earlier that his flight was being rescheduled by the airline and he was expected almost an hour or so later than his earlier communicated schedule. So he was the next to arrive, reaching directly from the airport.
Another person who has a very special place in my heart. All for the manner in which he manages all the activities of the blog. Seems to completely indefatigable and tireless, with such an unfaltering focus on the continued success of the blog. And the self evident performance is there for all to see. In an age and time of continuing transformations of activities and fortunes of online endeavors, ASAD stands out as a bright beacon that I daresay, is an envy of many other bloggers. We shall soon be celebrating the 15th anniversary of sustained activity, which could well be a celebrated record in comparison to similar online efforts. And we continue to merrily chug along and keep conquering newer and higher milestones. All the due credit goes to Atul ji and his tireless stewardship of this musical bandwagon. It is an honor to be associated with him and this blog.
Personally, I had a agenda of my own, to address two items related to the blog. But for that I needed to have a go ahead from Atul ji. So as soon as he came in, and after the meetings and greetings, I requested a separate five minutes from him, and we conversed in the adjoining room. I explained to him what was on my mind, and he readily agreed. I said want to talk about this with the group, with his permission, and he said yes once again. I will mention these items little later in this write up.
Now we were waiting for Peevesie and Peevesie’s Hubby. In real life, it is Vaidehi and Ishan. Vaidehi had been in communication with her mom since morning. They were both attending some important work related discussions, and had promised to join after that. Only that their timing kept on getting delayed. Then Arun ji suggested that we should take lunch, and they can join as soon as they arrive. As usual, I was requested to begin and to continue holding the fort (I mean the plate) till their arrival and so give them company too. A matter after my own heart so I readily accepted the honor.
So the lunch was served. Arun ji mentioned the great help that had been provided by Nalini ji, in sorting out the menu, and Avinash ji, in helping to manage the logistics. Due to other family commitments that were in conflict that day, the Event Management Company of Arun ji’s daughters, was not able to participate. But nonetheless, the lunch arrangement was well planned, well laid out and a roaring success. I can definitely say that from my perspective. 😀 The innovative idea of Nalini ji to suggest and make arrangement for Aam Ras, was a definite high point of the lunch.
And so the lunch proceedings happened. I held on to my plate and after some wait, the expected film couple arrived. The first order of the agenda after their arrival and intros and greetings, was to briefly celebrate Arun ji’s upcoming birthday, which was then just a week or so ahead. Vaidehi had brought a little gift and flowers, and we all sang the Happy Birthday song for the birthday boy.
Lunch proceedings continued with yours truly holding the fort and giving company to the newest addition to the gathering.
Once we settled down after lunch, and with permission from Atul ji, I asked for attention of the gathering for my agenda items. The first item was presenting two hard disks to the group, one to Atul ji, and one to Arun ji to keep as a sharing item with folks in Bombay. I explained to the gathering about the contents of these disks. Our blog had recently complete 17,800 posts. The hard disks contained ALL the 18,000 plus songs that have been posted on our blog since initiation. The songs are arranged in three ways – serially by post number, by film name, and by year and film name, for ease of access. This collection is important since the on the blog, all the songs may not be always available, as the online links keep on changing over time.
Then I proceeded to talk about my second agenda item. This was concerned with some feedback about the blog that I had received and I wanted to share with all group members. So I told the gathered members, the background and the details.
Earlier in the year, in the month of February, an exhibition had been arranged in Delhi by a friend, Ravikant ji. Ravikant ji is an Associate Professor at CSDS (Center for Study of Developing Societies) in Delhi. His main area of research interest is art and culture, which includes films and music. In Delhi, we are actively associated in working together in this area. He had organized an exhibition in February (21-28) titled ‘Intermediations’. The focus of this exhibition was the interplay of the film medium with the print medium and the broadcast medium. The tag line for this exhibition was ‘Panna, Parda, Baaja’, referring to print media, cinema and radio. The main theme of this exhibition was archiving. Every day in the afternoon/evening we had talks and panel discussions. I too was invited to be on the panel on one of the days. And I had talked about the archiving of Hindi film music from the perspective of our blog. I had described how our blog was set up, how it is sustained, and what are our singular achievements. I specifically mentioned how Atul ji set up this activity, and the manner in which it is being sustained. I also told the audience about Arun ji, about his notebooks, and his continued effort to research and gather information related to people and films. All this in recognition the archiving objective of this major entertainment media in our country.
Ravikant ji had insisted that I should attend all sessions. One significant outcome of this interaction was that I met with a lot of people for the first time. People who are managing other blogs and archives, people who are writers and research workers in related fields, people who are anchors and presenters on AIR and other music shows etc. It was very exhilarating experience to be able to meet so many likeminded people all at once.
And the fun part of my introductions with these people – no one knew me of course, by name. But when I mentioned that I am associated with AtulSongADay blog, my goodness, their reactions were unbelievable. Most people knew of our blog. Most people continuously use our blog as a reference archive. Most people are in awe about the manner in which this blog is scaling newer and newer heights. Everyone greatly praised our effort, especially our team work once I mentioned that this is a group working together. People were not familiar with specific names, but some people did mention both Atul ji and Arun ji by name.
So this was a very uplifting and satisfying experience for me. But then, there was also some feedback that some friends mentioned. Number one – that it appeared that we were posting more to capture some number milestone, at the cost of content of the posts. And number two – that of late, the readers find very little discussion about the songs themselves. I expressed this feedback and the sentiment to the present group members and there was a brief discussion on this topic.
I think these are important inputs for all of us. It seems that the people who are visiting the blog are looking for more content, that simply getting the demographic info about the song and the film. I found it important enough to bring this feedback with me to this gathering of our group. I had first mentioned this to Atul ji in my brief one-on-one conversation with him, and then with his approval I shared with the rest of the team.
All this while, as the birthday song was being sung, as the hard disk was being presented, as the conversations were in progress, a lot of photographs were taken of the day’s proceedings. Especially Ishan, who is an expert with camera, captured a lot of images. As did many of us with our phone cameras.
As the afternoon moved on, Vaidehi and Ishan excused themselves and took leave, as they had more meetings to attend related to their work. It is such a pleasure always to meet the youngest member of the group. And this time, it was in accompaniment with interest earned – the latest addition in form of Ishan. A thorough gentleman and a very friendly person – it was a real pleasure to be introduced to him. Goodbyes were made with Vaidehi promising to return to the return to blog with more of her pen(wo)manship.
Shortly thereafter Satish ji announced that it was time for his flight and that his cab was arriving in a few minutes. There were more handshakes and hugs as he stood up to depart. A quiet person, with such a pleasant smile and an affable presence, it seems so comforting to be in his company. I hope that we plan to meet again very soon.
Then Atul ji announced that his flight time was at hand, and that his daughter had booked a cab for him to go to the airport. So with due goodbyes and handshakes etc. Atul ji departed for the airport. A wonderful day of meeting great friends was now coming to a close. The remaining group members, we talked for some more time. As these conversations were going on, a video phone call came. It was Mahesh ji calling in to connect into the group, and with him, Pradeep Shetty ji also was there. I have mentioned earlier about wanting to meet Pradeep ji. And so this call was a heaven sent answer to my thoughts. The network was creating difficulty but still we were able to exchange greetings and have a live conversation – one step further from exchanging morning greetings.
Evening was closing in, and we decided to call it a day. There still is so much to talk about and share. Music has this effect on people, and that is the glue that keeps this group together. And the heart expressed the desire that these meetings should happen more often. There already has been a big gap due to other circumstances.
It was a wonderful day of meeting so many good friends all under one roof. As we were doing the good byes for the day, my mind working over the day’s happy proceedings, coined the a new realization. That we were departing from Arun ji’s home with a wonderful ton of Memories – of Happiness. Gosh, what a memorable day it had been, spent in the company of so many dear friends one continuously communicates with on a daily basis, and today it was as if an assembly designed and crafted in heavens.
And these memories are now forever tucked into our mind’s storage, to be revisited as and when the mind felt it to be. A day that will never be forgotten. Rather to put it straight – a day that is forever now one of my most wonderful Memories of Happiness.
The song I present today is from the 1966 film ‘Biwi Aur Makaan’. The lyrics are by Gulzar and music is from the mind of Hemant Kumar. The singing voices are those of Manna Dey, Hemant Kumar, Balbir and Ghulam Mohammed. On screen, the song is picturized on a group of ‘जिगरी दोस्त’ whose motto is ‘all for one, and one for all’. The group consists of Mehmood, Biswajit, Keshto Mukherjee, Ashish Kumar and Ajit Chatterji. The story line deals with the problem of young unmarried men trying to get rental accommodation in a world where the landlords prfer to rent out premises to married couples only. The outcome of the scheming brain of Pande (Mehmood) is a hilarious set of events that involves an artificial gender change for two of the men.
The film is produced under the banner of Geetanjali Films Bombay and is directed by Hrishikesh Mukherjee. This song tells of the wonderful value of friendship – that there are no obligations between true friends. A ha, a topic that I want to write about more in detail, but I think I should stop and not test the patience of readers any more.
A wonderful ode to friendship – the kind of friendship and camaraderie that is existing among the member of our musical bandwagon.
This song, and this write up – dedicated to our entire group – with everlasting Memories of Happiness.
Amen
Video (Somewhat shorter in beginning)
Audio
Song – Jab Dosti Hoti Hai To Dosti Hoti Hai (Biwi Aur Makaan) (1966) Singer – Manna Dey, Hemant Kumar, Balbir, Ghulam Mohammed, Lyrics – Gulzar, MD – Hemant Kumar
Lyrics
(Based on Audio)
yaar kisan ye to hadd ho gayi
yaaron ki to gat ho gayi
sirf ehsaan hi baaki reh gaye
dosti yaari radd ho gayi
pyaar mein duniyadarri kaisi
muft ki cheez nagad ho gayi
chhee chhee yaar ki ye pehchaan
dosti mein kaisa ehsaan
jab dosti hoti hai to . . . .(deep breath)
ehsaa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
arey jal bin tadpat machhli jaise
nal bin tadpat paani
jal bin tadpat machhli jaise
nal bin tadpat paani
kya.. kya
kya.. kya.. kya.. kya
kya.. kya
jal bin tarpat machhli jaise
nal bin tarpat paani
ho o
jal bin tarpat machhli jaise
nal bin tarpat paani
aur haath paani bina chalte. . .
ashnaa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
ye paanchon ki panchaayat
jo soche sahi hoga
hum pandav hain bharat ke
jo keh den wahi hoga
ye paanchon ki panchaayat
jo soche sahi hoga
hum pandav hain bharat ke
jo keh den wahi hoga
oy jam ke ek jamaa doo..oo..oon
doodh ka dahi hoga
to doodh ka dahi hoga
mera kya prabhu kehat hai peeda
jeevan kaaj karam kashteera
bhai mera kya prabhu kehat hai peeda
jeevan kaaj karam kashteera
aur haath kasht bina ye jeevan. . .
asaa..aa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
ungli se ungli ka jab tak jod salaamat
saath salaamat
chhoti aur badi hai to kya
paanchon hain to haath salaamat
ek ek ke hain paanch muqaddar
taqleef hotey ghabraana mat
saaje jod jawaani bachpan
paanch se paanch miley to pachpan
paanchon saath hain to. . . (deep breath)
nuksaa..aa..aan nahin hota
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
jab dosti hoti hai
to dosti hoti hai
aur doston mein koi
ehsaan nahin hota
jab dosti hoti hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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