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

Posts Tagged ‘1972


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

Blog Day : 3893 Post No. : 14929

This article touches upon “blog ten year challenge (2009-2019)” but this article is not part of that series. It is not possible to post an article in this series Today (16 march 2019), because movies of all the songs (all six of them) that were covered ten years ago (on 16 march 2009) have already been YIPPEED by now. 🙂

This blog ten year challenge (2009-2019) was started to serve some purpose, though we were not fully clear about them.

Let me try and enumerate them one by one.

Revisit movies that have not been revisited for years
————————————————————————-
Songs and movies that we covered ten years ago and then forgot about those movies once again get our attention. Take “Sharaabi”(1984) for instance. It was as a result of this series that we realised that this movie, despite being introduced in the blog as far back as in 2009 had only three songs in the blog and that no songs from this movie were covered in the blog since 2012 !

The case of “Do Dishaayen”(1982) was specially remarkable. The movie had three songs in it. Two of these songs were covered on consecutive days on 2 and 3 february 2009 and then we forgot all about this movie. Thanks to this series, the third and final song from the movie got covered ten years after its debut in the blog and the movie got YIPPEED on 3 february 2019.

Likewise, movies like “Gomti Ke Kinaare”(1972) etc got fresh lease of life in the blog as a result of this series.

A fillip to YIPPEE project
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As a result of this series, we found that a few movies whose songs got covered became YIPPEED as well. For instance, when we covered this song from “Sitaaron Se Aage”(1958), this had the added advantage of this movie getting YIPPEED as well.In other case, after we covered a song from a movie, we realised that the movie had one or two songs left and so that movie came under our radar for YIPPYdom.

Bringing back memories
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For some regulars (especially those born in 1960s), this series brought back memories of the past.

A better appreciation of the past
————————————————–
The blog has evolved over a period of more than ten years. It has changed a lot. The way songs and movies were chosen in the past has undergone a change with time, though all these changes are mostly inadvertent and largely unplanned. Only some other observers can notice any patterns in the song posts of the blog one decade ago.

Mr Sadanand Kamath, our inhouse HFM researcher, who posted an article in the series carried out some indepth research on the way songs were covered ten years ago. He observed that

during July 19, 2008 to December 31, 2008, an overwhelming number of songs covered were of the films released in the 1960s and 70s with few songs from the 1950s and 1980s. However, the representation of songs from the films released in the 1930s and 40s were negligible. For instance, out of 475 songs covered during the period under reference, only 5 songs pertained to the films released in the 1940s – that too the late 1940s. Not a single songs of films released in the 1930s were covered during the period under reference.

These trends were, however, on the expected lines for two reasons. First, Atul ji, considering his age profile at the time of starting of the Blog, has virtually grown up in the midst of popular songs of the films of 1960s and 70s. Obviously, as a ‘start-up venture’ of his Blog, he would have been influenced by such songs. Secondly, and most importantly, even if he intended to cover the songs of the 1930s and 40s, I doubt whether these songs were available in good numbers on the video sharing platforms in 2008. Youtube was set up in 2005 as a video sharing platform. A random browsing of videos on YT gives me an impression that videos of Hindi film songs were uploaded in good numbers only from 2007 onward and the videos of old film songs (1930s and 40s) were getting uploaded mainly from 2009 onward.

The song under discussion is not a “ten year challenge” song, but this song appears here today as a result of this exercise. Another song from this movie “Raja Jani”(1972) was part of the “ten year challenge” post on 5 march 2019. That post triggered all kinds of nostalgic feelings among regulars. This movie “Raja Jani”(1972) had made its debut on the 22nd day of the blog on 9 august 2008 and it was the 22nd post in the blog. By the time the second post from this movie appeared on 5 april 2009, the blog was more than one thousand songs old. The third song from the movie came after a gap of 5800 songs in 4 november 2012. After that there was a big gap of over six years during which this movie was all but forgotten.

It was on 5 march 2019 that the fourth song from “Raja Jani”(1972) was covered as a part of “blog ten year challenge”. It was then that we realised that the movie was another two songs short of being YIPPEED.

One of these two missing songs has subsequently been covered in the blog.

Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Kitna mazaa aa raha hai 22 9-Aug-2008
ABCD chhodo naino se naina jodo 1038 5-Mar-2009
Jaani O Jaani 6948 4-Nov-2012
Aa aa jaa aa jaa kuchh keh jaa kuchh sun jaa 14908 5-Mar-2019
Mubaarak ho tujhe ae dil 14925 14-Mar-2019

Mr Pratap, senior to most of us had watched this movie when it was released. Here is what he has to say about this movie:

I saw the movie when it was released and remember that I enjoyed it mainly due to the songs.

As far as I recall, the story was a standard formula one, Hema Malini is a lost princess, raised by Nadira and earns her living through dances and acrobatics. Dharmendra is the lovable rogue who notices the similarity of Hema with the description of the lost princess in the posters/newspaper ads and thinks up a scheme of passing her off as the princess and get the promised reward. Durga Khote is the grandmother Rajmata who is literally dying for the lost girl. She gladly accepts Hema and soon announces her engagement to the evil Prime Minister Premnath’s still more evil son Prem Chopra. Hema is heartbroken when she learns that Darmendra was using her as a pawn to get the reward and she accepts. Not very original, so you know the rest of the story.

Here is the sixth and final song from “Raja Jani”(1972) to appear in the blog. The song is chronologically the first song of the movie. It is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

One can watch the picturisation and guess what is going on, in the light of the movie synopsis provided earlier.

In this blog, we first cover a song and then regulars post comment about that song. The song is “special” because this song has received comments about it even before it has been posted. These comments were posted in the penultimate song post of course. For instance, Peevesie’s mom commented that

A song that I love, specially “shanno naam uska” line.
I used to substitute shanno with my name. 😉

With this song, all the songs of “Raja Jani” (1972) have been covered and the movie joins the list of movies that have been YIPPIED in the blog.


Song-Duniya ka mela mele mein ladki (Raja Jaani)(1972) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
gaal uske gulaabi
chaal uski sharaabi
o baabu o laala sabko salaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

tauba o meri tauba
karte hain sab ishaare
tauba o meri tauba
kiski taraf vo dekhe
aashiq hai uske saare
kiski taraf vo dekhe
o o o
sabki aankho me baske
sabko dekhe vo has ke
sabka dil bahlaana jo thahra kaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

kahte hain log uski
jaadu bhari hai baaten
kahte hain log uski
aankhon mein har kisi ki
katne lagi hai raaten
aankhon mein har kisi ki
o o o
neend uski udaaye
chain uska churaye
aaj kal shahar mein hai charcha aam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

dekho to ek tamaasha
ye khoob ban gaya hai
dekho to ek tamaasha
har ek us haseen ka
mahboob ban gaya hai
har ek us haseen ka
o o o
koi aankhen bichaaye
naaz koi uthaaye
jaise har ik deewaana hai
ghulaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
gaal uske gulaabi
chaal uski sharaabi
o baabu o laala sabko salaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

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

Blog Day : 3891 Post No. : 14925

“Raaja Jaani”(1972) was produced by Madan Mohla and directed by Mohan Sehgal for Seven Arts Pictures, Bombay. This “social” (1972)movie had Dharmendra, Hema malini, Nadira, Sajjan, Premnath, Prem Chopra, Johnny Walkar, Durga Khote, Rajan Haksar, HeeraLal, Lata Sinha, Madhup Sharma, Jankidass, Bhushan Tiwari, Kamaldeep, C.S.Dubey, Pal Sharma, Bindu, Manmohan, Helen etc in it.

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

Here is the fifth song from “Raaja Jaani”(1972) to appear in the blog. The song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The picturisation shows Hema Malini and Durga Khite seated on Royal thrones and then we find Helen dancing. Next we see Hema Malini standing near Helen and lip syncing this song while lots of people, including Premnath, Dharmendra and Prem Chopra looking on while seated on their chairs.

I have not seen the movie but going by the picturisation, it seems that Hema Malini plays double role in he movie and the movie. The movie, despite its chaalu story and chaalu music managed to do well at the box office. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra who felt that this was the last remaining song of the movie. No, another chaalu song from this song, which was quite popular during its time is still left to be covered. 🙂


Song-Mubarak ho tujhe ae dil (Raja Jaani)(1972) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

mubaarak ho tujhe ae dil
mubaarak ho tujhe ae dil
qayaamat ki ghadi aayee
khushi se aankh bhar aayee
mubaarak ho tujhe ae dil
mubaarak ho tujhe ae dil
qayaamat ki ghadi aayee
khushi se aankh bhar aayee
mubaarak ho tujhe ae dil

zaraa thehro
tamaashaa kya
hamaara tum na dekhoge
zaraa thehro
tamaashaa kya
hamaara tum na dekhoge
nazar kyun pher lee
kyaa ye
nazaaraa tum na dekhoge
kahin par toot’te hain dil
kahin bajti hai shehnaayee
mubaarak ho tujhe ae dil
qayaamat ki ghadi aayee
khushi se aankh bhar aayee
mubaarak ho tujhe ae dil

tumhein hum ye
nahin kehte
ke waadaa tumne todaa hai
tumhein hum ye
nahin kehte
ke waadaa tumne todaa hai
magar ae hamsafar tumne
jahaan par saath chhodaa hai
ye rastaa hai ke hai manzil
samajh mein baat naa aayee
mubaarak ho tujhe ae dil
qayaamat ki ghadi aayee
khushi se aankh bhar aayee
mubaarak ho tujhe ae dil
mubaarak ho tujhe ae dil
mubaarak ho tujhe ae dil


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.

Blog Day : 3882 Post No. : 14908

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Blog 10-Year Challenge (2009-19) – Song No. 11
————————————————

5th March, 2009. As many as nine song posted on that day. Of course, from 9 different films. And guess what, over the years, eight of these films have been yippeee’d already. The films are

  • ‘Shahjehaan’ from 1946,
  • ‘Munim ji’ from 1955,
  • ‘Kaala Pani’ from 1958,
  • ‘Goonj Uthi Shehna’ from 1959,
  • ‘Umar Qaid’ from 1961,
  • ‘Bin Baadal Barsaat’ and ‘Tere Ghar Ke Saamne’ from 1963,
  • and then ‘Anubhav’ from 1971,
  • and lastly ‘Raja Jaani’ from 1972.

Except for the last listed film above, all the other eight films that appeared on that day have all their songs posted here. And so the only option left to present a 10 year challenge post is a song from ‘Raja Jaani’ from 1972.

The song I present today is performed on screen by Hema Malini, as she is making efforts to woo and evoke the interest in the mind of a reluctant hero – Dharmendra. It was a time when the real life romance of Hema Malini and Dharmendra was just taking off and was coming in the notice of the media and the public. It is speculative to say whether such a real life situation adds to the reel performances. 🙂

The songs of this film are written by Anand Bakshi, and the music is by Laxmikant Pyaarelal. The singing voice is that of Lata Mangeshkar. The performance gets quite close to the category of a ‘seduction’ song.

‘Reel-life’ or ‘Real-life’ – I leave it up to the readers to judge. 😉

 

Song – Aa Aa Ja, Aa Jaa, Kuchh Keh Jaa, Kuchh Sun Jaa  (Raja Jaani) (1972) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

aa aa
aa aa

aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
door door kyon rehta hai
apni rani se raja
aa aa ja aa ja
kuchh keh ja kuchh sun ja

angdaai..ee..ee
yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
angdaai yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
dil se dil tu na mila
aa aankhen to mila ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja

sapnon ki..ee..ee
duniya mein kho jaaungi
aa sajna varna main so jaaungi
sapnon ki duniya mein kho jaaungi
aa sajna varna main so jaaungi
neend se pehle tu aa ke
in nainon mein sama ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
mmmm hmmmm aa ja
kuchh keh ja kuchh sun ja

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

आ आ
आ आ

आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा

अंगड़ाई॰॰ई॰॰ई
यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
अंगड़ाई यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
दिल से दिल तू ना मिला
आ आँखें तो मिला जा
आ आ आ जा आ जा
कुछ कह जा कुछ सुन जा

सपनों की॰॰ई॰॰ई
दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
सपनों की दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
नींद से पहले तू आ के
इन आँखों में समा जा

आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
म्मममम हम्मममम आ जा
कुछ कह जा कुछ सुन जा


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

Blog Day :

3862 Post No. : 14879 Movie Count :

4069

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 81 # Aaloo ki Bhaaji, Baingan ka Bhartaa #
————————————————————–—————————-

Dedication 🙂

This article is dedicated to ‘males’ who are good at cooking, are good chefs (the professionals) 🙂 , and the non-professionals who can cook well for themselves (for their wives (sometimes) (?), and for their family members and/or friends 🙂 as and when required. 🙂
Also I would like to express my gratitude to all females too who cook food for their family members and do all the hard work to ensure the family members get to ‘eat’ and are’ happy’. 🙂

***
I salute to all of them and wish I could also try and be like them and learn cooking. :).

I hope from the above statements nobody gets confused and misunderstands me if I am going to write about ‘cooking’ only and how it is going to be getting connected with a song, as, after all, this is a blog to present songs. 🙂

Yes, we are definitely going to enjoy a song which in my childhood was frequently heard on radio and so I was longing to share it here …

***
I was thinking about writing on this subject for almost two to three years. This kept getting delayed for one reason or the other…
Also this subject came to my mind because I am not good at cooking and had always found it as ‘boring’ or ‘burdensome’.

***

When I was about twenty I had to leave home and parents for my job and this was the first time that I was going to be staying alone without family members and so I would be without home cooked food by Mother who normally cooked for all of us at home. It was the first time for me when I faced this situation of having to cook food for myself.

My mother was also a working woman, so I remember that sometimes we three brothers used to assist her in some small things like sometimes getting coal for the ‘sigri’ and arranging it till it got ignited and hot enough to cook food. Sometimes we used to collect wood for burning. Those were the days and my childhood was like that, until cooking gas come to our home finally may be in 1985-86 I think.
But, I must also mention here that my Father was good at cooking some special dishes but it depended on his mood- viz on some special occasion or when the situation so0 demanded :).

I had to leave my parents as I took up a job and started to live with my other bachelor colleagues and so the ‘cooking’ phase of my life began for me. My colleagues wondered how come I was so ignorant of this matter and why I had never been to a ‘hostel’. To my sensitive soul, it appeared as if I was being held guilty of a ‘big crime’ or ‘big sin’. 🙂

Slowly they took pity on me and started teaching me the basics of coolikng viz chopping of vegetables starting with ONIONS first, which was enough to bring ‘tears to my eyes’. 🙂

When we used to get late from work and cooking at home was not possible we had to eat in Hotels and that resulted in ‘food poisoning’ and ‘diarrhoea’ on several occasions.

We used to have this ‘rice thali’ in ‘Madras Hotel’ at Kota where I was a regular monthly member. I ate there for almost 6/7 years till I get married 🙂

Before marriage I had already learnt to cook a few dishes well and also ‘cleaning’ of utensils (even now I can do this work whenever my wife wants me to her her in cooking. :). I consider cleaning and washing easier than cooking.

Nevertheless I was very good at and keep improving in one area, viz making good ‘tea’ (‘kadak chaai’).

During those ‘bachelor days’ in the morning after waking up the first thing I would look for was ‘ek cup garam chaai’. In cse I was unable to get it for reasons such as someone forgetting to buy the necessary stock of provisions to make tea, then that would spoil my morning.

On one such instance when I wanted to have a ‘cup of tea’ but found the ‘tea powder’ (tea leaves) was out of stock!!
I think I left office a little earlier that day , determined to buy the grocery first so I bought Tea powder – one kg :). My colleageus found it amusing when they knew this reason for my leaving early in the morning. 🙂

During my stay at Kota,I often had to change accomodation as my colleagues would get transferred to other sites. I had developed a group of friends who use to cook occasionally. I learnt to cook ‘mixed Punjabi daal’ from them and I used to give the ‘daal’ a good ‘chhonka’. I also learnt the chemistry of ‘rice & water’ and there were some ‘thumb rules’ that our neighbours staying there taught to us.
One of my friend from Indore was expert in making perfect ‘round chapaatis’ and we were very happy for that, his only condition was he would eat rice daily since he was habitual of that because of his stay in interior Andhra Pradesh for some time.

This cycle of ‘cooking’ for self, or eating out and risking health, and hiring a maid to cook, later on sharing cooking activities with friend, again going back and joining hotels on monthly basis to eat ‘rice plate’ (which normally in Maharashtra means having chapati, rice, dal, sabzi etc etc) continued for five-six years till I got married.

After my marriage sometimes I had cooked ‘mixed Punjabi daal’ for my wife and this remains my favourite.

As years passed I again got disconnected from the ‘cooking habits’ and was only restricted to making Tea, since I used to have two three cups Tea in the morning and sometimes a cup in the evening too after coming back from work to home.
Later on in the morning we agreed that the first ‘tea’ would be served by my wife, the second by me and the third turn – if required – would again be by her with breakfast. 🙂

Other than this the routine continues where my wife has to do everything for all of us but now my daughters have also taken up helping their mother in cooking …

After getting married there were instances in the initial years when my wife was with my parents and I was at project sites and so she would stay with them for a few months because ‘bade bete ki shaadi ke baad garb mein bahu aayi hai to …’
After all she was the ‘badi bahu’ and since I had no sisters a new female member was welcomed with warmth and love …

Well, life is an on-going process with only ‘change’ being the only constant and we never know what life has in store for us in future …

After a few years, it so happened that I visited Mumbai for our Atulites gang-out and had to stay with our ‘Maha Guru’ at his home in Mumbai. I was feeling very great and very fortunate, but then I was very very blessed when I got to eat food cooked by our ‘Maha Guru’ himself and I was really feeling ashamed on my laziness once again (because ‘apni galti par pachhtaana har insaan ka farz hai, lekin ye pachchhataap kuchh kshnon ke liye rehta hai 🙂 ) and I decided that when our ‘guru’ in his seventies can do ‘cooking’ why not me?, and so as usually I decided that I will cook myself for my wife … or at least start helping her in domestic works :).

The ‘gang out’ was in November’16 and it so happened that the next month on the first day of the next new year I and my wife travelled to Anand to see my daughters and while she will stay there with my daughters I will visit to Khandwa for my official works and return to Nagpur.
Now the real ‘test’ was after my reaching at Nagpur!!

As was usual for me, I ate out in nearby hotels for a couple of days and then I decided that ‘now I should take inspiration from our ‘Maha Guru’ and other ‘Gurujis’ and resolved to cook for myself-at least dinner in the evening.
It was decided that I would make a video call to my wife every evening after I finalised the menu and do the preliminary cleaning chopping of ingredients as required and keep ready the basic ingredients nearby …

And thus, started my ‘online learning for cooking’ course and every day I used to call my wife in the evening after initial preparations of the menu I wish to have that evening …
This time the ‘judaai’ was longer for almost a month a little over one month …

I learnt a great deal from her in this distance learning course.

Sometimes whenever she is not feeling well, I would first suggest her to order food from outside to have a change … but then she would come up with ‘kitna achchaa hota agar koi khaana banaake mujhe khilaaye’.

So, I would suggest to her that I would cook if she allowed me … she put us a great resistance the first time.

‘Rehne do, mujhe kuchh achchha khaane ka man kar rahaa hai, aap ke haath se wo swaad nation aayega’ 🙂 ‘main khud hi banaa deti hoon’, ‘Aap agar ho sake to wo saaf-safaai kar dena bas’ 🙂 …

Now, away from our country and home and ‘ghar ka khaana’, I am missing it all. Though we are getting ‘Indian Food’ to eat here (in our Camp) and some of us (from Bihar) are also good at cooking we get to eat ‘litti chokha’ ‘samosas’ ‘jalebi’ on special occasions, it can never be a substitute for the real thing. …

All those fond memories of having food at home since childhood keep haunting me nowadays and also I also remember how once in my childhood I refused to eat ‘aaloo ki bhaaji’ and was ‘scolded’ and ‘slapped’ by my father.

***
The movie …

‘Wafaa-1972’ was directed by Ramanna for R.R.Pictures, Bombay.

It had Sanjay, Rakhi, Hina Kausar, Nazeer Hussain, Joginder, Krishan Dhawan, Naaz, Sunder, Sulochana Chatterjee, Anwar Ali, Padma Khanna, Prem Kumar, Swaraj, Jayshree T, Kalavati, Deshpande, Shabnam, Puranik, Anand,

Prem Nath, Rajendra Nath, Bipin Gupta, Madan Puri, Sapru had friendly appearance in this movie.

Lyrics for all the five songs (as per HFGK Vol V) were written by Rajinder Krishan and music was composed by Laxmikant-Pyarelal.
Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Manna Dey have given their voices to the songs in this movie.

With today’s song this movie ‘Wafaa-1972’ is making its debut on the blog.

This movie was passed by Censor Board on 30.03.1972.

Almost forty seven years back …

(We already have ‘Wafa-1950’ movie already on the blog, this ‘Wafaa-1972’ joins its company)

There is another song from the 1973 movie ‘Jwaar Bhaata’ ‘daal roti khaao prabhu ke gun gaao’ which along with the today’s song had been in my memory since childhood, the reason may be that they were frequently played on ‘radio’ in those years…
I was also surprised that the song being presented today had not been posted on the blog so far.

Let us now enjoy the today’s song where in the first half the husband is trying to cook for his wife but as usual surrenders finally 

Today (13 february 2019) also happens to be the ‘World Radio Day’ and this one ‘from radio days’ will definitely bring back memories of those days for many. 🙂

video

audio

Song-Aaloo ki bhaaji baingan ka bhatra (Wafaa)(1972) Singers-Kishore Kumar, Lata, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal

Lyrics

Aaloo ki bhaaji
Baingan ka bhartaa
Aaloo ki bhaaji
Baingan ka bhartaa
Bolo ji bolo kya khaaoge ae
Jo bhi sajan tum khilaaoge
Jo bhi sajan tum khilaaoge

Maide ki poori
Aate ka phulkaa
Bolo ji bolo kya khaaoge ae
Jo bhi sajan tum khilaaoge
Jo bhi sajan tum khilaaoge

Shrimaan rasoi pakaaye ae
Shrimati baithh baitth khaaye ae
Shrimaan rasoi pakaaye ae
Shrimati baithh baitth khaaye ae
Kaho to kheer pakaaun
Aha ha ha
Zaraa si aag jalaaun
Achchaa
Zaraa sa chaawal laaun
Arey waah
Zaraa sa doodh milaaun
Hi hi hi hi
Pheeki kheer khilaaoge
Shakkar na milaaoge

Arey tere ki
Fail ham ho gaye pehle sabak mein
Aur koi cheez bolo khaaoge ae
Jo bhi sajan tum khilaaoge
Haan haan
Jo bhi sajan tum khilaaoge

Ho ho o la la la laa
Ho ho o la la la laa
Ae he he
O ho ho
Aha ha
Dekh dekh pyaari
Soorat tumhaari
Bhookh to hamaari mit gayi bechaari
Dekh dekh pyaari
Soorat tumhaari
Bhookh to hamaari mit gayi ji bechaari
Hato chalo hato raaja
Ye hai rasoi
Aisi jagah karta hai pyaar bhalaa koi

Chhodo chulha chauka
Hai munna raaja bhookha
Balmaa anaadi
Khichdi khayaali
Kab tak kaho ji pakaaoge

Baahon mein jab tak naa aaoge
Baahon mein jab tak naa
Tak naa
Tak naa
Aaoge ae
————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————–
आलू की भाजी
बैंगन का भरता
आलू की भाजी
बैंगन का भरता
बोलो जी बोलो क्या खाओगे ए
जो भी सजन तुम खिलाओगे
जो भी सजन तुम खिलाओगे

मैदे की पूड़ी
आटे का फुल्का
बोलो जी बोलो क्या खाओगे ए
जो भी सजन तुम खिलाओगे
जो भी सजन तुम खिलाओगे

श्रीमान रसोई पकाए ए
श्रीमती बैठ बैठ खाए ए
श्रीमान रसोई पकाए ए
श्रीमती बैठ बैठ खाए ए
कहो तो खीर पकाऊं
आहा हा हा
ज़रा सी आग जलाऊं
अच्छा
ज़रा सा चावल लाऊं
अरे वाह
ज़रा सा दूध मिलाऊं
ही ही ही
फीकी खीर खिलाओगे
शक्कर न मिलाओगे

अरे तेरे कि
फ़ैल हम हो गए पहले सबक में
और कोई चीज़ बोलो खाओगे ए
जो भी सजन तुम खिलाओगे
हाँ हाँ
जो भी सजन तुम खिलाओगे

हो हो ओ ल ल ल ला
हो हो ओ ल ल ल ला
ए हे हे
ओ हो हो
आहा हा
देख देख प्यारी
सूरत तुम्हारी
भूख तो हमारी मिट गयी बेचारी
देख देख प्यारी
सूरत तुम्हारी
भूख तो हमारी मिट गयी बेचारी
हटो चलो हटो राजा
ये है रसोई
ऐसी जगह करता है प्यार भला कोई

छोडो चूल्हा चौका
है मुन्ना राजा भूखा
बलमा अनाड़ी
खिचड़ी खयाली
कब तक कहो जी पकाओगे

बाहों में जब तक ना आओगे
बाहों में जब तक ना …
तक ना …
तक ना …
आओगे ए


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

Blog Day : 3860 Post No. : 14875

“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.

The movie had five songs in it. Four of these songs have been covered in the past. First and fourth song from the movie were covered on 8 february 2009 and 8 february 2019 respectively, viz at an interval of exactly ten years, which thus became a part of the ongoing blog ten year challenge series.

Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Aao aao jaane jahaan 701 8-Feb-2009
Aaj to meri hansi udaayi 13377 20-November-2011
Jeene ka din mar jaane ka mausam 6764 27-June-2017
Arre lag gaya re lag gaya…pyaar ki race mein jackpot lag gaya 14870 8-Feb-2019

Here is the fifth and final song from “Gomti Ke Kinaare”(1972). This song is sung by Manhar Udhas. Majroo Sultanpuri is the lyricist. Music is composed by R D Burman.

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

With this song, the movie gets YIPPEED and so “Gomti Ke Kinaare”(1972) joined the list of movies that have all their songs covered in the blog.


Song-Khwaab ki tasweer aankhen lab khanakte jaam se(Gomti Ke Kinaare)(1972) Singer-Manhar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
o o
khwaab ki tasweeir aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
o ho
lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
ye kiska tum naseeb ho
baithhi aanchal thhaam ke
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

aapke ik pyaar ki daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
o oh o
aapke pyaar ke ek daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
sanam
usi ki zindagi
ho basar aaraam se
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
paukaaroon aapko kis naam se
ho o
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se


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

Blog Day : 3857 Post No. : 14870

———————————————
Blog ten year challenge (2009-2019)- Song number 5
———————————————
Today is 8 february 2019. When I looked back at the movies whose songs were covered in the blog ten years ago on 8 february 2009, I found that seven songs from seven different movies were covered on that day. Six of these movies have been YIPPEED by now. The only movie, which still has a few songs left to be covered in the blog is “Gomti Ke Kinaatre”(1972).

“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.

The movie had five songs in it. Three of these songs have been covered in the past.

This song is sung by Manna Dey and Asha Bhonsle. Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.

The so0ng is picturised on Agha and Helen. It appears to be a fantasy song where Agha has a Jin of Alladin Chirag. The Jin, on the wishes of Agha makes Helen appear to perform a dance. That is my understanding of the picturisation of this song. I request our knowledgeable readers to tell us what is happening in this song.

The movie hade its debut in the blog on this day in 2009 when I was based at Jabalpur. Next song was posted in 2011 when I was based at Nagpur, and the third song was posted in 2017 when I was based at Izatnagar, Bareilly. Now I am covering the fourth song from the movie while I am based at another new place.

The movie has another song left in it. Have no fear. Now that I am aware that only one song is left in this movie, I will cover the song without waiting to get transferred to another place. 🙂


Song-Arre lag gaya re lag gaya (Gomti Ke Kinaare)(1972) Singers-Manna Dey, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

arre lag gaya re lag gaya
pot pot pot pot pot pot pot pot
pot pot
pot pot
jackpot
jackpot

tarse jisko dil
mere haath lag gaya
pyaar ki race mein
jackpot lag gaya
saare jahaan se kaho o o
dilbar kahin ka bhi ho o o
mahboob mera hai wo
saare jahaan se kaho o o o o
dilbar kahin ka bhi ho
mahboob mera hai wo
tarse jisko dil
mere haath lag gaya
pyaar ki race mein
jackpot lag gaya
ha

ho o o
o o o o
main hoon tumhaare hi dil mein
u u u u
main hoon tumhaari nazar mein
u u u u
chaahe rahoon main kahi bhi ee
har roop mein hoon tumhari
har rang mein hoon tumhaari ee
ya jaaneman ya habibi

tarse jisko dil
lalalala
mere haath lag gaya
lalalalala
pyaar ki race mein
jackpot lag gaya

chalna mera koi dekhe
lalalala
doloon jo angdaayi leke
lalalala
naache ye saara zamaana aa aa
chhalkaaun main dil ke pyaale
jo ik nazar mujh pe daale ae
kar doon main usko deewaana

tarse jisko dil
taratatata
mere haath lag gaya
taratatata
pyaar ki race mein
jackpot lag gaya
ha aa aa


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

Blog Day :

3827 Post No. : 14832 Movie Count :

4056

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—
# Bhoole-Bisre Geet # 78 # Singer – Mahendra Kapoor #
—————————————————————————-

Today 9th January is the birth anniversary of Singer Mahendra Kapoor (9 January 1934 – 27 September 2008). Had he been alive today he would have been eighty-five years old.

On today’s occasion here is a song from the 1972 movie ‘Maalik’ sung by Mahendra Kapoor and composed by Kalyanji -Anandji. Lyrics are by Rajinder Krishan.

I have vague memories of watching this film on ‘Doordarshan’ and do not remember it now. In my childhood I had been hearing this song ‘Kanhaiyya Kanhaiyya Tujhe Aana Padega’ on loud speakers during the ‘Janmashtami’ festival. This song was very popular in those years. And after watching this movie ‘Maalik’ on ‘Doordarshan’ around 1983-1985, I came to know it was from this movie. However today on the occasion of birth anniversary of Singer Mahendra Kapoor, I am presenting herewith another Krishna song from the same film.

‘Maalik’ was directed by A Bhim Singh for Bharat Movies, Madras. It was produced by Vasu Menon. It had Sharmila Tagore, Rajesh Khanna, Deven Verma, Sonia Sahni, Bipin Gupta, Shivraj, Umesh Sharma, NS Bedi, Prem Kumar, Kabir Kumar, Baby Pinki and Ashok Kumar (in a special appearance). Story for this movie was written by Balamurugan. Dialogues of this movie were written by Rajinder Krishan (who also wrote the lyrics for all songs in this movie). Editing of this movie was done by A Paul Doraisingam. NS Bedi was also the dialogue director of this movie. This movie was passed by the Censor Board on 26.10.1972.

Rajesh Khanna played a different role in this movie from what was expected from him then and that too when he was on the peak of his career. May be because of that the movie didn’t fare well at the box-office, and may be because people might not have like to watch Rajesh Khanna in this type of role.

Our group of friends then who were the fans of Rajesh Khanna, did not like this movie much when we watched it on ‘Doordarshan’ then in 1983-85. And I remember next day we had discussed this movie and Kaka’s role in it at length. (But that is the matter for another article on Rajesh Khanna series. 🙂

The brief about this movie ‘Maalik-1972’ as given on IMDB is as below;

Rajesh and Savitri are in love, and soon they get married. They soon realize that they have a number of differences, the main one being that while Rajesh is a devout Hindu and worships Lord Krishna, Savitri does not believe in God. This leads to a number of arguments, yet both continue on with their married life. Soon a child is born to them. Unfortunately, the child is born without hands and legs. Both are anguished by this, and decide to placate God by visiting various places of worship all over India, little knowing that the truth lies elsewhere.

This movie has total thirteen songs as listed in HFGK Vol-V (1971-1980). Out of these thirteen songs, the singer’s name has not been mentioned for one song. Out of the remaining twelve songs we have one solo sung by Kishore Kumar, one solo by Lata Mangeshkar, three solo songs sung by Mahendra Kapoor and seven duets of Mahendra Kapoor with Lata Mangeshkar. That way, including the multiple version songs we have Mahendra Kapoor’s voice in as many as ten songs in this movie.

There was one movie made with the same title as ‘Maalik’ in ‘1958’. Five songs from this 1958 movie are already posted on our blog.

Today ‘Maalik’ of 1972 makes its debut on the blog. Here is this first song from this movie appearing here which is sung by Mahendra Kapoor and chorus.

Let us now listen to the today’s song in the voice of Mahendra Kapoor and chorus.

Radhe Krishna bol mukh se
tero kya laage re mol

Song – Radhe Krishna Bol Mukh Se (Maalik) (1972) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishna, MD – Kalyanji Anandji

Lyrics

aaaa aa aa aa
radhe krishna bol mukh se ae
radhe krishna
bol mukh se
radhe krishna bol
tero 
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol
ho ho o o o
radhe krishna bol mukh se
radhe krishna bol tero
kya laage re mol
tero
kya laage re mol

(western dance music)

pee le shyam naam ka pyaala
aa aa aa aa
pee le shyam naam ka pyaala
aur ho ja saancha matwaala
aur ho ja saancha matwaala
girdhar ke rang mein rang ja
re rang ja
tero
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol

(western dance music)

natwar se preet lagaa le
ae ae ae ae
natwar se preet lagaa le
chhavi sundar man mein basaa le ae
chhavi sundar man mein basaa le
bansi ki dhun mein kho ja re kho ja        
tero
kya laage re mol
tero
kya laage re mol
ho ho o o
radhe krishna bol mukh se
radhe krishna bol mukh se
radhe krishna bol
mukh se re
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

आ आ आ आ
राधे कृष्ण बोल मुख से ए
राधे कृष्ण
बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो ओ ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल

(पाश्चात्य संगीत)

पी ले श्याम नाम का प्याला
आ आ आ आ
पी ले श्याम नाम का प्याला
और हो जा सांचा मतवाला
और हो जा सांचा मतवाला
गिरधर के रंग में रंग जा
रे रंग जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
 
(पाश्चात्य संगीत)

नटवर से प्रीत लगा ले
ए ए ए ए
नटवर से प्रीत लगा ले
छवि सुन्दर मन में बसा ले ए
छवि सुन्दर मन में बसा ले
बंसी कि धुन में खो जा रे खो जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो हो ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
मुख से रे
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल


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

Blog Day : 3757 Post No. : 14724

Sachin Dev Burman is, beyond doubt, the most sensitive instrument of musical inspiration – his soul is the very soul of music, the very soul of magic. Navketan ….is synonymous with Burman …whose songs are nesting places of whistling birds, tinkling bells and sobbing flutes….. A genius who has breathed music, dreamed music, lived music all his life.

This was a part of a signed note written in his own hand writing by Dev Anand, probably as a tribute to S D Burman. The entire note was reproduced in the book “The Navketan Story – Cinema Modern” by Sidharth Bhatia (2011).

Today, October 31st 2018 is 43rd Remembrance Day of Sachin Dev Burman (01/10/1906 – 31/10/1975), a legendary music director whose song compositions of 1950s through early 70s sound as young today as they did at the time of their creation. On S D Burman’s 112th birth anniversary on October 1st, 2018, I had set out in an article on this Blog, his journey from the Royal Tripura Family to the country side of the then East Bengal, to Calcutta (Kolkata) and finally to Bombay (Mumbai) to become one of the leading music directors of the golden period of Hindi film music.

When S D Burman landed in Mumbai in 1944, he had tough competition from well-established music directors like Anil Biswas, Naushad, Ghulam Haider, Khemchand Prakash and C Ramchandra. There were also emerging music directors in the mid-1940s like Sajjad Hussain, Husnlal-Bhagatram, Shyam Sundar, Hansraj Bahl etc. To some extent, his competition lessened with the migration of Ghulam Haider to Pakistan in 1948 and the sudden death of Khemchand Prakash in 1950. However, he had to face competition from new music directors – Shankar-Jaikishan, O P Nayyar. Madan Mohan, Roshan etc who operated concurrently with him.

There were some other handicaps with which S D Burman commenced his musical career. Apart from his poor knowledge of Hindi, S D Burman was said to have some personality traits which were not conducive for creating a successful filmy career. He gave an impression that he was whimsical, temperamental and stubborn. He lacked tact in handling his prospective customers (producers-directors). On the ‘plus’ side of his personality, as outlined by many who had worked with S D Burman, he was sagacious, humble, unbiased and had child-like innocence. Perhaps these qualities in him more than made up for his negative traits.

In Hindi film industry, in addition to talent, one also requires net-working with those who matters for picking up the music director for their films. He rarely attended filmy parties. He would not meet producer-directors or actors’ to seek work. He had very few friends and almost all of them were associated with Hindustani classical music or from Bengali music circle.

Despite all these handicaps and competitions from fellow music directors, I wonder as how could S D Burman maintain his position as one of the top music directors for as long as 24 years (1951-1975)? Let me analyse it based on 50 odd interviews of personality I have gone through who had closely worked with S D Burman and also of those who had known him.

For S D Burman, music was his world. Pandit Hari Prasad Chaurasia called him ‘Sangeet Sant’ (Saint of Music). Uttam Singh who was a violinist in S D Burman’s team of musicians and later a music director referred to him as ‘Rishi’ (Sage). Those who have closely worked with him had noticed that most of the time, he was in musical trance. Neeraj once observed that when Burman Dada was creating tunes for dance songs, he himself would dance to get a feel as to how a tune will fit on a dance song. Even among his few close friends, music was the only subject of his talk.

He was totally committed to song compositions under whatever the circumstances. Vijay Anand, in an interview taken by Piyush Sharma, had revealed that Burman Dada had composed some of the songs of ‘Guide’ (1965) from his hospital bed. He had personally gone to collect one of the tunes ‘piya tose naina laage re from the hospital bed. That he could conceive and create such a complex tunes ( 4 antaras in the song have different melodic treatments) even during illness speaks volume for his calibre as a music director. Waheeda Rahman had revealed that Burman Dada would tell her that he had conceived the tune with these dance steps in his mind so she should take care to do justice to them during the shooting. For ‘Tere Mere Sapne’ (1971), he had called Hema Malini to his home to explain the dance style of ta thai tat thai that thai ta. His good understanding of almost all aspects of song picturisation with his passion for perfection resulted in a very high percentage of his songs becoming hit.

S D Burman was never part of the rat race in the field of music direction in Bollywood. He would restrict the work of music direction to just 3-4 films a year. He had a phobia that if he took more films on hand, he may sound repetitive in his song composition. His style of composition required sufficient time to work on the songs to his full satisfaction. He would agree to compose songs for a film only after he had gone through the script of the film and the song sequences were fitting well in the story of the film.

There was an instance quoted by Pulak Bandopadhyay, who worked with S D Burman as lyricist for his non-film Bangla songs. He was present when this incidence happened. One day, a gentleman from the South film industry came to Burman Dada’s house and opened his brief case which was full of currency notes. He wanted to sign Burman Dada for his film. Burman Dada told the gentleman that he could show him as many bundles of currency notes as he had but he had no time to take up the new assignment.

After the gentleman had left disappointed, one of the persons in his room told Burman Dada that he should not have refused the film. He replied him by way of an idiomatic expression to make him understand. He compared film music as a draw-well. He said if one draws all the water from the well, it dries up. One needs to give the well sometime to recoup the water. [I have paraphrased here from the instance mentioned in ‘S D Burman – The World of His Music’ by Khagesh Dev Burman (Second Impression, 2016)].

Another important feature of S D Burman’s song compositions was that he was so particular about his melodic creations that he would not allow his singer’s voice and the lyrics to be over-shadowed by heavy orchestration. He used to tell his music arrangers that his melody was like a beautiful bride who did not need much ornamentation and dressing up. Another idiomatic expression he used to give in this regard was that orchestration was like a bindi (dot) on the forehead of a lady. A small bindi (dot) on the forehead of a beautiful lady would enhance her beauty. But a big bindi will spoil her beauty.

S D Burman was a strong believer in experimentation. Probably, this belief stemmed from his phobia that his songs may sound repetitive if he did not do something different. A sample of some non-film Bengali songs which he had composed in the 1930s and 40s itself gives an indication of his experimentation. Once in a conversation with Pandit Shiv Kumar Sharma, the Santoor player, Burman Dada said in his broken Hindi “main maar khaayega lekin main kuchh naya karega’’. What he meant was that he would continue to experiment with his songs and the music compositions even though his experiments may sometime fail. Let me list out at least a few of his experimentation:

1. I think, the first successful experimentation S D Burman carried was converting a ghazal into a club song tadbeer se bigdi huyi taqdeer bana le. This song became so famous that the film ‘Baazi’ (1951) became synonymous with this song. In ‘Funtoosh’ (1956), he once again converted a ghazal sounding lyrics into a light fun song, wo dekhen to unki inaayat.

2. In jaane kya toone kahi, a new musical instrument called Chinese Temple Blocks was used which created a mesmerising impact to match the mood in the song. The instrument was played by Kersi Lord, the Drummer and Accordionist in the S D Burman’s team of musicians. Another surprise was that S D Burman experimented by using Khol (a type of percussion) in this song which was essentially a naughty one. In Bengal and other North-Eastern States, the khol is used mainly for devotional and kirtan songs. In hothon mein aisi baat main daba ke chali aayi, S D Burman used a variety of percussion instruments of North-East Indian states and from Nepal and Myanmar numbering around 20.

3. Music Director Chitragupt used to tell his music director sons, Anand-Milind to study the songs composed by S D Burman especially the antara part of the songs where he sometimes experimented by composing in different metres than the mukhda metres. Anand gave an example of the song, choodi nahin ye mera dil hai which has antaras in different metres than mukhda. Even within antara, three out of 5 lines are again in different metres. The expertise of S D Burman in these types of songs is that the tune of antaras in different metres is brought close to the mukhda tune of the song like an aircraft making a smooth landing.

4. Poet Neeraj who started writing for S D Burman from ‘Prem Pujari’ (1970) also said that Burman Dada did a lot of experimentation with his song compositions. For instance, in phoolon ke rang se dil ki kalam se, Burman Dada started the song with antara. It was after 7 lines that the mukhda of 4 lines started. In dil aaj shaayar hai, there was no mukhda at all. For the song, yaaron neelaam karo susti, Burman Dada composed the first two lines based on a folk song, the next two lines were raag based tune, 5th and 6th lines were pop based tune and the last 4 lines which are the mukhda of the song were composed in qawwali style. Neeraj said that Burman Dada did these kinds of experimentation to break the monotony in the songs.

5. S D Burman was a fan of Ustad Faiyaz Khan of Agra Gharana. With his prior approval, he had used his famous bandish, ‘jhan jhan jhan jhan paayal baaje’ in Raag Nat Behag in composing non-film Bengali song ‘jhan jhan jhan jhan manjeera baaje’ (1937) which became very popular. He reused the tune with some improvisation in Hindi film ‘Buzdil’ (1951).

But in ‘Manzil’ (1960), S D Burman went a step ahead. He experimented with using Ustad Faiyaz Khan’s famous Dadra in Raag Bhairavi, ‘banaao batiyaan hato kaahe ko jhooti’ on Mehmood as arre hato kaahe ko jhooti banaao batiyaan in a light comical situation. He got Manna Dey to sing keeping in view the fact that he was singing for Mehmood in the role of Paanwala. When I first heard this song without the picturisation, I really felt that it was sung as a semi-classical song in the film as a part of the stage show. This song became very popular because it had the chord to connect with the masses.

Later, Roshan also adopted this experimentation successfully in laaga chunri mein daag chupaaun kaise and in phool gendwa na maaro. Both these semi-classical songs have been used in comical situations and sung by Manna Dey.

6. According to Uttam Singh, Violinist with S D Burman and R D Burman and later the music director, S D Burman is the only music director in Hindi film industry who has experimented with composing a classical dance song, piya tose naina laage re in Rupak Taal (7 beats) which is regarded as unusual for a dance song. He said that after this dance song, no other music director in Hindi film industry has attempted to compose a classical dance song in Rupak Taal.

I do not know much of the nuances of Hindustani classical music. On-line study material gave me some idea as to why Rupak Taal is unusual. All other Taals like Dadra Taal (6 beats), Kherwah (8 beats), Ek Taal (12 beats), Dhamar (14 beats), Teentaal (16 beats) etc have even number of beats. It is only the Rupak Taal which has uneven number of beats (7).

7. Shekhar Sen, the current Chairman of the Sangeet Natak Akadamy who is also a singer, lyricist, composer, playwright and musicologist, said that Burman Dada had experimented composing a Hindi film song on Merukhand style used in Hindustani classical music. Merukhand is an improvisation style recited in the 3-4 notes in sargam. For example, 4 notes, Sa Re Ga Ma can be sung in various combination in maximum of 24 patterns without repeating any note. Merukhand is used for vocal practice by those who have just completed training in Hindustani classical music.

The song in Merukhand which Shekhar Sen referred to was palkon ke peeche se kya kah daala. Getting a clue from this song, I guess, geet pehle bana thhaa yaa bani thhi ye sargam is also a Merukhand inspired song. Both these songs became popular.

Let me summarise as to how S D Burman could remain as one of the top music directors for as long as 24 years (1951-1975). First, he concentrated on the quality rather than quantity of song compositions by restricting his assignments to not more than 3-4 film in a year. Secondly, he chose mainly those genres of films for which he had a flavour for composing songs. Thirdly, he ensured that he worked with those directors who had been excellent in song picturisation. He was lucky to get directors like Guru Dutt, Raj Khosla, Vijay Anand, Bimal Roy and later Shakti Samanta and Hrishikesh Mukherjee. Fourthly, he did improvisation in his song compositions to make them acceptable to the masses. He also made experimentation in the song compositions to ensure that his songs did not become monotonous.

I will end my longish post on Burman Dada with a quote from Shekhar Sen. “Burman Dada’s song compositions were like lime pickle which became more tasty as years passed”.

On the occasion of 43rd Remembrance Day of S D Burman, I present one of the songs composed by him, ‘o tushima ri tushima..aa gaya toofaan’ from the film ‘Ye Gulistaan Hamaara’ (1972). The song is sung by Lata Mangeshkar on the lyrics of Anand Bakshi.

The tune of the song is based on a Nepali folk song which S D Burman’s Madal player, Ranjit Gazmer had once sang among his other musicians while relaxing during the rehearsal. S D Burman liked the tune and later used in this film with some improvisation.

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Acknowledgements:

In writing this article, I have relied on interviews which were given by those who had closely worked with/close association with S D Burman. They included producers-directors, actors, music directors, singers, lyricists, music arrangers, lead musicians and his close friends. Most of videos/audio interviews were taken by Moti Lalwani which he has uploaded on YT.

Video Clip:

Song-Ho tushima ri tushima…aa gaya toofaan (Ye Gulistaan Hamaara)(1972) Singer-Lata, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics

ho o o o
tushima aa aa

ho tushima ri tushima
ho tushima ri tushima
aaj jaane kis kaaran
haule haule doley mann
aaj jaane kis kaaran
haule haule doley mann
aa gaya toofaan
haan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

chhaayi masti basti basti
parvat parvat jhoomen
chhaayi masti
chhaayi masti basti-basti
parvat parvat jhoomen
yoon chale purvaai
ang ang leve angdaai
dharti chhuve aasmaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

thhanda paani chhoone se bhi
aag badan mein laage
thhanda paani
thhanda paani chhoone se bhi
aag badan mein laage
neend se joban jaaga
chupke se dhadkan laaga
mera manwa beimaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

maine dekha apna mukhda
maujon ke darpan mein
maine dekha
maine dekha apna mukhda
maujon ke darpan mein
mann se maine poochha
yeh hoon main yaa koi dooja
itni sundar main kahaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya


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

Blog Day : 3721 Post No. : 14656

By now it seems to have become a routine for me to make only cameos on this blog, triggered either by a memorable event (such as the blog’s tenth anniversary) or a “nudge” from another Atulite. 🙂

I will not seek to correct this impression – for the facts speak for themselves. I will also not make any excuse of “being busy” – that would only be an insult to people like Atul and Sudhir ji who manage to give so much time to the blog, despite so many demands on their time.

So no excuse – mea culpa. Today’s post is also a result of a nudge – this time from Peevisie’s Mom.

It happens to be the birthday of Feroz Khan today – and she called me up to remind me of it. A while ago, she and I had discussed that the popular song “Hamaare Siwa. . .” (‘Apradh’ – 1972) had not yet been posted on the blog – so she called up to remind me that there was an occasion coming up to remedy the situation. 🙂 So here is the post for this song – and to remember Feroz Khan.

I remember writing about Feroz Khan earlier – I think it was a couple of years ago. I haven’t checked that post – and am writing purely from my thoughts of the moment – so kindly excuse me if much of what I say is repetitive.

Feroz Khan, for me, has his own place in Hindi cinema. There are many who had a more successful career than Feroz. Certainly as an actor, he wasn’t rated all too highly, if I’m to be brutally honest. He had his moments, but one would have to be disingenuous about his acting achievements, to put him in the same league as at least a dozen other actors/stars.

And though he was very successful as a producer/director, there have been more successful producers / directors. And yet, for me, Feroz holds his own in Hindi cinema. As a personality, he seemed to me to have something about him that made him different from others. I think it was the way he carried himself.

Much of my exposure to Feroz was, of course, in the 1970s. By that time he had turned producer – so I got to see him both as actor and producer – in films like ‘Apradh’ (1972), ‘Dharmatma’ (1975) and ‘Qurbani’ (1980). All these films have one thing in common – they are all made on a grand scale, with no expenses spared, no corners cut in producing an extravagant spectacle for the audience. Naturally this became the image of Feroz Khan in my mind – and I think, for most people. His films are glamorous, with foreign locales, expensive cars and the like. Feroz seemed to revel in this flamboyant image – and continued it through the 1980s and 90s in films like ‘Janbaaz’ (1986), ‘Dayavan’ (1988) and ‘Yalgaar’ (1992).

If the films made by him are to be taken as representative of his life, one would not be mistaken in saying that Feroz lived life king-size. I enjoyed each one of these films – they were thoroughly entertaining, with a decent story line (which is very important for me!) and good songs too. Most of the songs of films made by Feroz became super-hits, suggesting he had a good ear for music.

And yet, for me, the story doesn’t end here. It is the first half of his career, so very different from the second half, that makes his story fascinating for me. Like I’ve said before, my clearest memories of Feroz are from his films of the 1970s. But he acted in many films in the 1960s too – and any reference to his work that does not mention this would be incomplete.

One of my friends once jokingly said “Feroz Khan probably got into producing his own films because he got fed up of never getting the heroine.” 🙂

Yes, said in jest, but it is true that in many of his films till he began making his own, Feroz missed out. In some early films, he was the villain – so then it’s understandable. But in many other films too, even as the good / semi-good guy, he would end up not getting the heroine. In ‘Oonche Log’ (1964), the heroine dies – in ‘Mela’ (1970), his character dies as he “sacrifices” for his brother. And in films like ‘Aarzoo’ (1965), ‘Aadmi Aur Insaan’ (1969), ‘Pyaasi Shaam’ (1969), ‘Safar’ (1970), ‘Upaasna’ (1971), the heroine loves the other guy. Small consolation maybe that in ‘Darinda’ (1977) he manages to turn the tables on Sunil Dutt for ‘Pyaasi Shaam’ (1969). 🙂

Of course, that was how the script was written – but it always made me feel bad to see Feroz lose out. 🙂 , even though he’d occasionally get to sing lovely songs like “Darpan Ko Dekha. . .”  and “Jo Tumko Ho Pasand. . .” in the process. 🙂

Then there were those black-and-white films of the 60s. Many not well-known, probably then categorized as “B’’ films. Many with Mumtaz, herself then not in the A league. Having both gone through similar careers in the 60s, Feroz and Mumtaz were very good friends – and it’s hardly surprising that Mumtaz was his lead when he produced Apradh (1972).

One song from a Feroz “B” film I fondly remember is “Anjaan hai koi” (‘Anjaan Hai Koi’ – 1969). I think this song was quite popular in its time – at least I remember it from my childhood. Other less-known Feroz films I remember are ‘Ek Paheli’ (1971) with Tanuja (“Main Ek Paheli Hoon”) and ‘Anjaan Raahen’ (1974) with Asha Parekh (“Mujhe Nahin Poochhni Tumse Beeti Baatein”).

And of course, ‘Kashmakash’ (1973) and films like ‘Khote Sikke’ (1974) and ‘Kaala Sona’ (1975). The last-two were typical films that could have been made for Feroz – I remember enjoying both of them. 🙂

In general, I liked watching his films, especially of the 70s and later – they were never boring. Feroz himself, while never having pretensions to being a great actor, was fun to watch. And one of my favourite Rafisaab songs is picturised on him – “Jaag Dil-e-Deewaana”. 🙂 (‘Oonche Log’ – 1965).

So today, on his birthday, I have fond memories of Feroz Khan – and want to thank him for making entertaining films, with lovely songs. Today’s song is from ‘Apradh’ (1972) – the once very popular “Hamaare Siwa”. I remember listening to it a lot on radio at the time.

I saw the movie ages ago – sometime in the 70s. Have not seen it since, so I don’t remember anything of the story. I think it was something to do with smuggling, and had a lot of foreign locales, but sorry, I can’t remember any more than this. It’s surprising that in more than 10 years on this blog, the song hasn’t been posted yet. But better late than never, I guess.

So today, on Feroz Khan’s birthday, let’s all enjoy this song from his own film – the first film he produced/directed.

 

Song – Hamaare Siwa Tumhaare Aur Kitne Deewaane Hain (Apradh) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Indeevar, MD – Kalyanji Anandji

Lyrics

hamaare siwa
tumhaare aur kitne deewaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
hamaare?
haan tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
achha?
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

khoobsoorati aur wafaa
dekhi na donon ek jagah
haan haan dekhi na donon ek jagah
hote hain mard bade shakki
baat hai ye bilkul pakki
bholi si
aati ho nazar
haan haan bholi si
aati ho nazar
ho chanchal chaalaak magar
aurat ka dil jaane nahin
aap hamen pehchaane nahin
chhodo chhodo hum bhi sayaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

tum ho pareshaan kis gham se
raaz-e-dil keh do hum se
haan haan raaz-e-dil keh do hum se
apni kaho chhodo meri
karte ho kyon hera pheri
yaaron pe tohmat lagaate nahin
yaaron pe tohmat lagaate nahin
sab ko nishaana banaate nahin
khud harjaayee bhanwre ho tum
ek jagah kab thehre ho tum
chhodo chhodo hum to parwaane hain

hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
hmm
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
tumhaare aur kitne deewaane hain

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

हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे?
हाँ तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
अच्छा?
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

खूबसूरती और वफा
देखी न दोनों एक जगह
हाँ हाँ देखी न दोनों एक जगह
होते हैं मर्द बड़े शक्की
बात है ये बिलकुल पक्की
भोली सी आती हो नज़र
हो चंचल चालाक मगर
औरत का दिल जाने नहीं
आप हमें पहचाने नहीं
छोड़ो छोड़ो हम भी सयाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

तुम हो परेशान किस ग़म से
राज़ ए दिल कह दो हमसे
हाँ हाँ राज़ ए दिल कह दो हमसे
अपनी कहो छोड़ो मेरी
करते हो क्यों हेरा फेरी
यारों पे तोहमत लगाते नहीं
यारों पे तोहमत लगाते नहीं
सबको निशाना बनाते नहीं
खुद हरजाई भँवरे हो तुम
एक जगह कब ठहरे हो तुम
छोड़ो छोड़ो हम तो परवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
हम्म॰॰॰
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं


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

Blog Day : 3713 Post No. : 14640

# Superstar Child Artist – Jr. Mehmood # 4
————————————————–
(Rafi Sings for Jr. Mehmood # 3)
————————————-
Greetings to all for the ongoing ‘Ganesh Festival’…!!!

I have many fond memories of ‘Ganpati Utsav’ being held in our colony premises and the ‘various cultural programs’ held during the ‘ten-day’ festival.

For us children then, the main attractions were ‘Orchestras’, ‘Dramas’ and a ‘movie’ if at all it could be arranged and screened in open ground and where we used to watch it from either side of the screen.:)

Among the other programs like ‘orchestra’ and ‘drama’ which would be performed by artists coming from different locations there was also a ‘drama’ and ‘cultural program’ by artists from our colony and students from schools. I was always a part of the ‘drama’ team of juniors as a ‘performer’ and also was a part of the ‘seniors’ for ‘prompting’ behind the stage if some artist forgot the ‘dialogues’. My voice was suitable for that purpose at that time. 🙂

That reminds me of one of my friends who used to do mimicry of Mehmood and Junior Mehmood on stage during such programs. And that also reminds me of ‘the musical nights being held that time with some special star also performing therein’. But, since such programs would be held at the city about 25/30 kms from the place we were staying then, it was not possible for us children to attend such programs.

Junior Mehmood was among the ‘star performer’ in those years and that reminder bring us to this fourth article in the series of articles covering songs performed by or picturized on Junior Mehmood and lip synced by him on screen in Hindi Movies.

Initially I started this series discussing the songs sung by Rafi Saab for Junior Mehmood and the following two songs sung by Rafi Saab for Junior Mehmood have been discussed earlier;

1) Lagey koi lottery koi jackpot lagey (Rivaaz)(1972)

2) Na Koi Paisa Na Ilm Banaao Bambai Mein Film (Bansi Birju) (1972)

Thereafter we extended this series to cover the songs sung by other singers (mainly female singers, I think so 🙂 ) for Junior Mehmood. And those songs which are yet to be discussed on the blog.

Thus, we have the following song as the third post in this series which was posted on 15th November, 2017;

3) Mera Naam Hai Mehmood.

Today’s song is from the movie ‘Tanhaai-1972’.

‘Tanhaai-1972’ was ‘S.B. Films’ presentation, directed by Jagdish Nirula for ‘Chitrashala, Bombay’. This film was produced by S.I. Shivadasani.

It had Rehana Sultan, Anil Dhawan, Shatrughan Sinha, Jagdev, Lakshmi Chhaya, Iftekhar, Poornima, Dulia, Randhir, Baby Chintu, Lalita Kumari, Jankidas, Moolchand, Arpana, Master Shahid, Jagdish Raj, Kirti, Madhu, Jery, Bhola
And Mehmood Junior.

The movie introduced Ashok Khanna.

Story & Screenplay of this film was by Sadhram Sapru. Its dialogues were written by Qamar Jalalabadi. Editing for this movie was done by Govind Dalwadi.

Its music was composed by Usha Khanna and the four songs of this film were penned by Asad Bhopali – three songs and Amanullah Khan Aman – one song.

The film had three solo songs- two by Asha Bhonsle, one by Kishore Kumar which has already been discussed here, and one song sung by Mohd Rafi, Usha Khanna (and Junior Mehmood (as per HFGK), however the titles of this movie did not mention the name of Junior Mehmood under ‘Playback’.

The film was passed by Censor Board on 23rd October’1972.

As per the filmography of Jr. Mehmood available on various sources on the internet he acted in many movies since his first release to this movie “Tanhaai-1972”.
However, these sources where his filmography has been mentioned does not mention the name of this movie ‘Tanhaai-1972’ in their list. (So, the complete list of his movies/filmography needs to checked and authenticated to have accurate number of movies if we need to discuss them year wise.)

Also, till the release of this movie “Tanhaai-1972” Junior Mehmood was a part of many movies which were successful at the box office and he was seen in many Rajesh Khanna movies like ‘Do Raaste-1969’, ‘Aan Milo Sajna-1970’, ‘Kati Patang-1970’, ‘Haathi Mere Saathi-1971’, ‘Chhoti Bahu-1971’, ‘Dil Daulat Duniya-1972’ and other movies.

I had mentioned in my earlier post and many of us are aware of that Junior Mehmood shot to fame from the ‘1968 movie – Brahmachari’ where he performed on Mehmood’s famous ‘ham kaale hain to kya huaa dilwaale hain’ from ‘Gumnaam-1965’’.

He repeats once again performing on Mehmood’s famous ‘mehbooba mehbooba bana leo mujhe dulha’ from ‘Saadhu Aur Shaitaan-1968’ in the movie ‘Johar Mehmood in Hong Kong-1971’ where on screen he performs in the presence of his guru Mehmood and I.S.Johar. (Peevesie’s Mom ji have recently discussed this song from ‘Saadhu Aur Shaitaan-1968’ on the blog).

Mehmood Fans and moviegoers are well aware of Mehmood’s – ‘Kapoor’s three generation act- Prithviraj, Raj and Randhir, in the song ‘Ye kaisa aayaa zamaanaa…’, in the movie ‘Hamjoli-1970’.

Surprisingly this song is yet to be posted on the blog. (may be Mehmood fans in the group are aware and want to give us a surprise 🙂 )

Junior Mehmood tried to repeat a similar act in the song ‘birhaa ki rain’ which is being presented here today.

Taking inspiration from the above song from ‘Hamjoli-1970’ and continuing his ‘genius’ further, and in fact going a step further of his Guru Mehmood, Junior Mehmood did this ‘four roles’ (additionally enacting a female artist, Aruna Irani, I guess…) act in today’s song.

Initially I had planned this song post to be shared in Oct’15 and it was then that the first draft of this article was prepared, however later it got delayed and the song from the movie ‘Baalak-1969’ was posted.

I have not watched this movie ‘Tanhaai-1972’, however our beloved Raja Saab had mentioned of watching this movie in his post presenting the first song from this movie – ‘saawan mein kahin aag na lag jaaye chaman ko’ on the blog.

Let us now enjoy today’s song …

Video

Audio

Song-Birha ki rain sooni sooni sejariya (Tanhaai)(1972) Singers-Rafi, Usha Khanna, Jr Mehmood, Lyrics-Asad Bhopali, MD-Usha Khanna
Rafi + Usha Khanna
Chorus

Lyrics

Aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa aa aa

Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain

Raama ghazab dhaaye
Mori baali umariya aa aa
Birhaa ki rain
Sooni sooni sejariya aa aa
Birhaa ki rain

Pa ma ga ma paa paa paa
Pa ma ga ma paa paa paa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Birhaa ki rain
Birhaa ki rain
Birhaa ki rain

O my god
Grandfather
Tum gaata hai ke rota hai
Idhar ko headache hota hai
Sister, come on!!
One two three four

Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
La laa
la la la laa
La la la la la laa
La la la la la laa

Tum hai seedha saadaa
Tum kya jaano new age ki bhaasha aa

Tum hai seedha saadaa
Tum kya jaano new age ki bhasha
Aaj kal ke
Gora gori
Gora gori
Chori chori
Kyun gaate hain gaana aa
Laa laa aa
Laa laa aa
Laa laa

la la la laa aa
la la la laa aa

Arey muniya
Arey Munna
Chup karo re
Chup karo
Chup

Sharm tum ko na aataai
Hungaamaa kyon machaatai
Dilaa kaaikon jalaatai
Bazurgaa ko sataatai
Sharm tum ko na aatai
Hungaamaa kyon machaatai
Dilaa haiku jalaatai
Bazurgaa ko sataatai
Nako buri baataan
Nako buri baata
Nako buri baata
nako o

Gaao na baba
Phir se gaao na
gaao na

O sister
Ye grandfather todta hai music ka taang
Ham log gaayenga beautiful song

Tum par ab aaj
Aaj hai apna raaj
Tum par ab aaj
Aaj hai apna raaj

Chhodo kal ka raag puraana
Father ye hai nayaa zamaana
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho

Arre muniya
chup kar ja
Munne
chup kar ja
Arrey
Arrey
Achchha achchha
Gaa lo
Pet bhar ke gaa lo
Main jaata hoon
Jaata hoon
Jaata hoon

————————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————————–
आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ आ आ

बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन

रामा गज़ब ढाए
मोरी बाली उमरिया आ आ
बिरहा की रैन
सूनी सूनी सेजरिया आ आ
बिरहा की रैन

प् म ग म पा पा पा
प् म ग म पा पा पा
आ आ आ आ आ आ आ
आ आ आ आ आ

बिरहा की रैन
बिरहा की रैन
बिरहा की रैन

ओ माय गॉड
ग्रैंडफादर
तुम गाता है के रोता है
इधर को हेड़ेक होता है
सिस्टर, कम ऑन
वन टू थ्री फोर

पा पा
दु दादा दु
दादा
दु दादा दु
पा पा
दु दादा दु
दादा
दु दादा दु
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ
आज कल के
गोरा गोरी
गोरा गोरी
चोरी चोरी
क्यूँ गाते है गाना आ
ला ला आ
ला ला आ
ला ला
ल ल ल ला आ
ल ल ल ला आ

अरे मुनिया
अरे मुन्ना
चुप करो रे
चुप करो
चुप

शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई
शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई

नको बुरी बाता
नको बुरी बाता
नको बुरी बाता नको ओ

गाओ न बाबा
फिर से गाओ न
गाओ न

ओ सिस्टर
ये ग्रैंडफादर तोड़ता है म्यूजिक का टांग
हम लोग गायेगा ब्यूटीफुल सॉंग

तुम पर अब आज
आज है अपना राज
तुम पर अब आज
आज है अपना राज

छोडो कल का राग पुराना
फादर ये है नया ज़माना
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो

अरे मुनिया
चुप कर जा
मुन्ने
चुप कर जा
अरे
अरे
अच्छा अच्छा
गा लो
पेट भर के गा लो
मैं जाता हूँ
जाता हूँ
जाता हूँ


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15001

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4106

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