Posts Tagged ‘1972’
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
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Raja | Question-Answer song | Song picturised abroad | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 5 Comments
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)
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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
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(Rafi Sings for Jr. Mehmood # 3)
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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;
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
Khush Kar Diya Tu Ne Mere Rama
Posted on: May 22, 2018
- In: Celebration Song | Childbirth Celebration Song | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Folk Dance | Guest posts | Happy song | Lata song | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sudhir | Rafi duets अ से ह तक | Rafi songs | Rafi-Lata duet | Series of articles | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 9 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 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 : | 3595 | Post No. : | 14351 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 9
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘ख’ – खुश कर दिया तूने मेरे रामा
Yes, surely the Almighty God sent you here amongst us, only for singing and to add to the music on this earth. And what a wonderful treasure you have bequeathed to the lesser mortals of this earth. We shall always be indebted for this tremendous legacy you gave us.
Continuing with Rafi Sb’s duet series after a gap of – goodness, seventy two days. Wow. Anyway, back again with another rollicking duet, this time accompanied by Lata Mangeshkar.
And rollicking is just the word. The setting is Punjabi, the performance is a Punjabi Bhangra dance, and the occasion – one of the most awaited and the most celebrated in Indian families – birth of a male child.
The film is ‘Jeet’ from 1972. The main performers in this group dance song are Randhir Kapoor and Babita. The film being released in 1972, would have been in the making in 1971, the year that this lead pair tied the knot and became a real life couple. Ah but that story for another occasion, another post. Today, we are moving ahead with the duet series of Rafi Sb, getting to the 10th episode in this series, which promises to be long – going thru the entire Devnagri alphabet.
The film is produced under the banner of Babu Movies Combine, and is directed by A Subbarao. Besides the lead pair mentioned above, the other players in the star cast include Rajendra Nath, Rupesh Kumar, Jatin, Nana Palsikar, Anwar Hussain, Jeevan, Sundar, Hari Shivdasani, Dada Mirasi, Keshav Rana, Master Shahid, Heena Kausar, Sanjana, Sulochana Latakar, Manorama, Dulari, and Baby Sudha etc.
The film has six songs, three of which are already showcased on our blog. Goodness, that was 2009, all three songs posted so far. After a gap of nine years, we once again get an opportunity to revisit this film – today’s being the fourth song posted. All songs are written by Anand Bakshi. Music direction is by the duo of Laxmikant Pyaarelal.
On screen, we see a homely set of a village lane with houses lined up close to each other. Randhir and Babita are leading the bhangra dance event, with Sunder also part of the male dance group. In between, we see Dulari holding a baby (well, not looking too much new born, but oh well 🙂 ). There is another lady sitting next to her. I am guessing that she is Sanjana. I request other more knowledgeable readers and friends to please confirm or correct this guess. As per Prakash ji, the other lady is Heena Kausar. Plus, one of the dancers accompanying Babita is Sheela Ramchandran.
The event and the celebration is about the new born child, but quite apparently, the lead pair is spending more lines trying to woo each other and play the romantic love birds. Well in fact, it is just the mukhda lines that talk about the child birth celebrations. The entire verse set for both antaraas is just the romancing between the hero and the heroine. Quite a ‘filmi’ thing, right?
Enjoy this lively bhangra dance song; and I hope to speed up things on this series, let us see. 😉
Video (Partial)
Audio (Full)
Song – Khush Kar Diya Tu Ne Mere Rama (Jeet) (1971) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics (Provided by Prakashchandra)
[Based on Audio version]
khush kar diya
o khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
haaye rabba tainu laakh salaama
haaye rabba tainu
haaye rabba tainu laakh salaama
ke munde da tu mamma ban gaya
o khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
oo oo oo
main is paar
te us paar
tu piyaa. . .
main is paar
te us paar
tu piyaa. . .
aayee hain bahaaren
kaise jaayen tere dwaare
mutiaare mere dil ki pukaarein
aayee hain bahaaren
kaise jaayen tere dwaare
mutiaare mere dil ki pukaarein
tere mere beech mein
lambi lambi galiyaan te
uchchi uchchi jag ki deewarein
o kaise beeten
o kaise beeten
judaai diaan shaamaan
ke munde da main mamma ban gaya
khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
oo oo oo oo
jindri na rol
aaja kol soniye. . .
jindri na rol
aaja kol moniye. . .
chhat se pukaare
jatt kar ke ishaare
hatt ho na jaaye meri badnaami
chhat se pukaare
jatt kar ke ishaare
hatt ho na jaaye meri badnaami
darr mat baandh ke sehra
main bana doonga
tujhko main munde di maami
mach gaya
mach gaya pind wich hangaama
ke munde da tu mamma ban gaya
o khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
haaye. . .
ye dil ye jaan
do jahaan
maang le. . .
ye dil ye jaan
do jahaan
maang le. . .
dena na tu dhokha
sainyaan khushi ka hai mauka
suchche motiyon ki main to loongi maala
dena na tu dhokha
sainyaan khushi ka hai mauka
suchche motiyon ki main to loongi maala
taange mein bitha ke
boley sair kara doon
main hoon muflis taange waala
tera reshmi
tera reshmi kurta pajama
ke munde da tu mamma ban gaya
haaye rabba tainu laakh salaama
haaye rabba tainu
haaye rabba tainu laakh salaama
ke munde da tu mamma ban gaya
o khush kar diya tu ne mere rama
ke munde da main mamma ban gaya
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खुश कर दिया
ओ खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
हाय रब्बा तैनू लाक्ख सालामां
हाय रब्बा तैनू
हाय रब्बा तैनू लाक्ख सालामां
के मुंडे दा तू मामा बन गया
ओ खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
ओ ओ ओ
मैं इस पार
ते उस पार
तू पिया॰ ॰ ॰
मैं इस पार
ते उस पार
तू पिया॰ ॰ ॰
आई हैं बहारें
कैसे जाएँ तेरे द्वारे
मुटियारे मेरे दिल की पुकारें
आई हैं बहारें
कैसे जाएँ तेरे द्वारे
मुटियारे मेरे दिल की पुकारें
तेरे मेरे बीच में
लंबी लंबी गलियाँ ते
उच्ची उच्ची जग की दीवारें
ओ कैसे बीतें
ओ कैसे बीतें
जुदाई दियाँ शामाँ
के मुंडे दा मैं मामा बन गया
खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
ओ ओ ओ ओ
जींदड़ी ना रोल
आजा कोल सोनिए॰ ॰ ॰
जींदड़ी ना रोल
आजा कोल मोनिए॰ ॰ ॰
छात्त से पुकारे
जाट्ट करके इशारे
हट्ट हो ना जाए मेरी बदनामी
छात्त से पुकारे
जाट्ट करके इशारे
हट्ट हो ना जाए मेरी बदनामी
डर मत बांध के सेहरा
मैं बना दूँगा
तुझको मैं मुंडे दी मामी
मच गया
मच गया पिंड विच हंगामा
के मुंडे दा तू मामा बन गया
ओ खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
हाय॰ ॰ ॰
ये दिल ये जान
दो जहान
मांग ले॰ ॰ ॰
ये दिल ये जान
दो जहान
मांग ले॰ ॰ ॰
देना ना तू धोखा
सैंया खुशी का है मौका
सुच्चे मोतियों की मैं तो लूँगी माला
देना ना तू धोखा
सैंया खुशी का है मौका
सुच्चे मोतियों की मैं तो लूँगी माला
टाँगे में बैठा के
बोले सैर करा दूँ
मैं हूँ मुफलिस टाँगे वाला
तेरा रेशमी
तेरा रेशमी कुर्ता पाजामा
के मुंडे दा तू मामा बन गया
हाय रब्बा तैनू लाक्ख सालामां
हाय रब्बा तैनू
हाय रब्बा तैनू लाक्ख सालामां
के मुंडे दा तू मामा बन गया
ओ खुश कर दिया तूने मेरे रामा
के मुंडे दा मैं मामा बन गया
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 : | 3561 | Post No. : | 14281 |
“Do Yaar”(1972) was produced and directed by Kewal Mishra for Kewal arts productions, Bombay. This “social” movie had Vinod Khanna, Shatrughan Sinha, Nazima, Birbal, Ram Mohan, Sujata, Kundan, Suresh, Mohan Choti, Husn Bano, Paro, Shamim, Nasir, Vinod Verma, Joshi, Lamchaani, Naaz (guest appearance), Rekha (special appearance) etc in it.
The movie had four songs in it.
Here is the first song from “Do Yaar”(1972) to appear in the blog. The song is sung by Asha Bhonsle. Masoom Saharanpuri is the lyricist. Music is composed by Sonik Omi.
The song is picturised as a mujra sdance song. I am unable to identify the lady lip syncing the song. I request our knowledgeable readers to help identify her and other actors visible in the picturisation.
With this song, “Do Yaar”(1972) makes its debut in the blog. Maasoom Saharanpuri too makes his debut in the blog as a lyricist.
Song-Mita kar har tamanna aaj paayal baandh li maine(Do Yaar)(1972) Singer-Asha Bhonsle, Lyrics-Maasoom Saharanpuri, MD-Sonik Omi
Lyrics
zamaane ab to khush ho
baat teri maan li maine
zamaane ab to khush ho
baat teri maan li maine
mita kar har tamanna
aaj paayal baandh li maine
zamaane ab to khush ho
baat teri maan li maine
mita kar har tamanna
karoon kya sochti hoon pesh
tumko mere mehmaanon
karoon kya sochti hoon pesh
tumko mere mehamaanon
hai mere paas kya baaqi
hai mere paas kya baaqi
zara socho to deewaanon
adaayen bech di maine
wafa neelaam ki maine
zamaane ab to khush ho
baat teri maan li maine
zamaane ab to khush ho
baat teri maan li maine
mita kar har tamanna
sada majboor dil ki hai
nahin hai geet honthon ke
sada majboor dil ki hai
nahin hai geet honthon ke
muqaddar ne mujhe laa kar
muqddar ne mujhe laa kar
nachaaya aaj kothon pe
jala kar dil badhaai
raushni baazar ki maine
zamane ab to khush ho
baat teri maan li maine
zamaane ab to khush ho
baat teri maan li maine
mita kar har tamanna
aaj paayal baandh li maine
zamaane ab to khush ho
baat teri maan li maine
mita kar har tamanna
Ye husn ka hai baazaar yahaan
Posted on: April 17, 2018
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 : | 3560 | Post No. : | 14276 |
“Baankelal”(1972) was produced and directed by Ratan Kumar. The movie had Prithviraj Kapoor, Sulochana Chatterjee, Sheel Kumar, Abhi Bhattacharya, Sunder etc in it.
It appears that the movie was started in 1960s but it could get released only in 1972 and it flopped at the box office.
The movie had eight songs in it.
Here is the first song from “Baankelal”(1972) to appear in the blog. The song is sung by Mahendra Kapoor. Pt Madhur is the lyricist. Music is composed by Pardesi.
Video of the song is available and one can see that the song is a movie opening song which gets played as credits get displayed on screen. The video version contains only part of the song. Audio version is much longer.
With this public lament song about the misery of women in a brothel, “Baankelal”(1972) makes its debut in the blog.
Video (partial)
Audio (Full)
Song-Ye husn ka hai baazaar yahaan (Baankelal)(1972) Singer-Mahendra Kapoor, Lyrics-Madhur, MD-Pardesi
Lyrics
ye husn ka hai baazaar yahaan
aurat ki kahaani bikti hai
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
jo biwi ko thhukraate hain
wo thokar khaane aate hain
o o o
o o o
jo biwi ko thukraate hain
wo thokar khaane aate hain
is paap ki putli ke aangan mein
puny kamaane aate hain
bebas aurat ki aahen aur
dil ki kurbaani bikti hai ae
o o o
dil ki kurbaani bikti hai
ye husn ka hai bazaar yahaan
besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
o o o o o o
besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
laala ban aate raam yahaan
baabu ban aate shyaam yahaan
gokul ki gwaalin bikti hai
aur awadh ki raani bikti hai ae
o o o o
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
o o o o o
o o o o o
jis ghar mein beta aata hai
aur likhta prem ka khaata hai
o o o
o o o
jis ghar mein beta aata hai
aur likhta prem ka khaata hai
bhugtaan ko lene is jodi se
baap bhi aata jaata hai
in kaale kothon pe mardon ki
meharbaani bikti hai ae
o o o o
meharbaani bikti hai
ye husn ka hai bazaar yahaan
ye aasmaan se nahin giri
is dharti ki hi jaayi hai
o o o o
ye aasmaan se nahin giri
is dharti ki hi jaayi hai
jitne hain inke diwane
kai baap hai aur kai bhaai hain
kulvadhu ki mehandi aur choodiyaan
har ek nishaani bikti hai ae
o o o o
har ek nishaani bikti hai
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
This article is written by Peevesie’s mom, 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 : | 3542 | Post No. : | 14218 |
Hullo Atuldom
9+2=11
11+3= 14
14+4= 18
“Confused”? “Flummoxed” or I should be asking “stumped”? Of course, all the words mean the same. I am sure the additions that I have done to open this post have set people thinking.
Well it has something to do with the last three songs that were posted from the movie “Mome Ki Gudiya” (that is how “mom” was spelt in the title card and the movie’s censor certificate dated 12th April 1972). The famous website Hindigeetmala.net lists four songs for the movie, but as I sat through the movie to recheck I found the movie had five songs. I think HFGK will also give the same number, the song “Bandhan toote na sanwariya” comes twice then the number of songs count will be six.
“Reshma jawaan ho gayi” is the first song in the movie; posted with a post by Sudhirji. That song happens when Tanuja who plays Sheel takes objection to being called “chutki”.
“Whenever I had been to Brindavan I have seen shooting of Hindi and South India movies. Except for the last time.
Now It has gone to dogs. The flowers have wilted and trees are dried up. Please do not take your parents as one has to walk compulsorily for few kilometres”.
This was our Nitin Shah’s comment after the above song. I must say I had a similar experience when I visited Brindavan this year, in the month of January. The flowers were not there but some lighting still happens, they have a musical fountain show and most of the fountains were working but I suppose visiting the place in summer might disappoint a tourist as there will be little water in the dam.
“Baaghon me bahaar aayi” is the second song which plays when Sheel and Ravi (Ratan Chopra) are on their honeymoon. It is picturised in Brindawan Gardens of Mysore. The movie’s makers have thanked the people and government of Mysore state for cooperating in the making of the movie. (A small doubt- was Mysore still a separate state in 1971/ 72 ?). This was the first song from the movie to be posted on the blog.
[Ed note:- Mysore was a separate state since 1956. It was renamed as Karnataka in 1973]
The third song from the movie that is posted happens at karwa chauth. “Bandhan toote na sanwariya” occurs just before climax. Post the song Sheel shoots her mama Shaligram played by Jeewan just as he tries to stab Ravi.
So that then are the three posts for this movie posted in 2009, 2011 and 2014 – there I have explained 9+2 and 11+3. We are in 2018 i.e 14+4 simple 🙂
I sat through the movie before writing this post and here is the gist of the movie:
Ravi, the only son of wealthy widower Rai Bahadur Gangaram, falls in love with fellow-collegian, Sheel, but is shocked to find that she is to be his future step-mother. His father decides to step away, lets the couple get married, and shortly thereafter passes away. A few months later, Sheel gets pregnant and her parents as well as her maternal uncle, Shaligram, come to visit her. It is during this visit that Ravi will find out that Sheel has been living a secret life, and the real reason why she married him. Devastated, he will face even more trauma and scandal when the Police will arrest his wife for murder.
The secret of Sheel’s life is that her parents (Paro and Rashid Khan) and mama use her to lure rich old men into marriage and see to it that Sheel doesn’t consummate the marriage. And a few days after marriage they decamp with the rich man’s wealth. One such old man is Om Prakash who tries to force himself on Sheel but she injures him and flees thinking she has killed him. Another secret of Sheel’s life is that she has been kidnapped by the trio in infancy from Nasir Hussain’s haveli. This fact is unearthed by Premnath when he appears in court to defend Sheel.
So that then is what the movie was all about. 🙂
I think “Dolly ki Doli” which came in 2015 had a similar story of a young con-girl marrying into rich families.
The song with this post is the fourth song in the movie. It comes in Sheel’s dream when Ravi tells her “how much he has waited for her?” Etc. etc. It is a rather long song. It is in the voice of Anand Bakshi. This movie had two songs that were sung by Anand Bakshi. After sitting through the movie I felt the voice suited the actor perfectly. Another thing that I found was this was the debut of Anand Bakshi as a singer.
The movie opens by paying shraddhanjali to composer Jaikishan the composer who was part of three of Mohan Kumar’s initial movies.
Today (March 30th, 2018) is the 16th death anniversary of Anand Bakshi. He who gave us songs which sounded as if written by a common man. Such simple words to convey normal feelings leke a good-bye “achcha toh hum chalte hai”; monetary lessons “aamdani athannee kharcha rupiaya”; a man’s plight after marriage “brahma o brahma”; a host of lullabies “sooyi ja tara”, “aakhiyon mein chote chote sapne sajaayeke” (to list just two); roothna-manaana “Rona kabhi nahin rona”, “nahin main nahin dekh sakta tujhe rote huye” and songs with roadside Romeo kind of lyrics “jumma chumma de de”.
He has written songs for three films with the title “Majboor”; two “Mehbooba” (one of which released in 2008 six years after he had passed away). He was a master with words and if I may say- in the same league as Majrooh Sultanpuri in the sense that he had a long career of almost 40 years and wrote similarly simple lyrics and was always in demand by all film makers.
He had an ambition to be a singer too which was showcased in a few songs for which he used to sing the opening lines etc. I had discovered a song where he had given playback along with Bhupinder, Manna Dey and Kishore Kumar for “Sholay” but unfortunately that song never featured in that movie. I was aware of one full length song in “Mome Ki Gudiya” but before I sat to write this post I found that was already posted. But I am not upset as I found a very beautiful song from the same movie but it is rather long almost 6 minutes. Here it is:-
Audio
Video
Song-Main dhoondhh raha thha sapnon mein (Mome Ki Gudiya)(1972) Singer-Anand Bakshi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
main dhoondhh raha thha sapnon mein
tumko anjaanon apnon mein
main dhoond raha thha sapnon mein
tumko anjaano apno me
raaste me mujhe ek phool mila toh maine kaha
maine kaha
ae phool tu kitna sundar hai
lekin tu raakh hai mauj nahin
ja mujhko teri khoj nahin
main dhoondhh raha tha sapnon mein
main deewaana anjaane mein
ja pahuncha phir maikhaane mein
raste mein mujhe ik jaam mila to maine kaha
maine kaha
ae jaam tu kitna dilkash hai
lekin tu haar hai jeet nahin
ja teri meri preet nahin
main dhoondhh raha thha sapnon mein
main badhkar apni hasti se
guzra taaron ki basti se
raste mein mujhe phir chaand mila to maine kaha
maine kaha
ae chaand tu kitna raushan hai
par dilbar tera naam nahin
ja tere bas ka kaam nahin
deepak ki tarah jalte jalte
jeevan path par chalte chalte
raste mein mujhe sansaar mila to maine kaha
maine kaha
sansaar tu kitna achcha hai
lekin zanjeer hai dor nahin
ja tu mera chitchor nahin
main dhoondhh raha thha sapnon mein
kuchh aur chala main banjaara
toh dekha mandir ka dwaaraa
mandir mein mujhe bhagwaan mila toh maine kaha
maine kaha
bhagwaan tera ghar sab kuchh hai
lekin saajan ka dwaar nahin
pooja pooja hai pyaar nahin
beeta ke chain akele mein
pahuncha saawan ke mele mein
mele mein tumhe jab dekh liya to maine kaha
maine kaha
tum hi toh ho
tum hi toh ho
chitchor mere
man meet mere
tum bin pyaase thhe geet mere
hmmhmm oooo hmmm
oooo hmmmmm oooo
hmmmm hoooo aaaa
hmmmm hoooo aaaa
hmmmm hoooo hoo
Kyun main sharmaaun tumse
Posted on: March 28, 2018
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 : | 3540 | Post No. : | 14211 |
“Mangetar”(1972) was directed by Rupa Sen for Filmmaker, Bombay. This movie had Deb Mukherjee, Nutan, Anupama, Sudhir Sen, Pradeep Kumar, Kalpana, Nazir Hasain etc in it.
This movie, despite being a “recent” movie by the standards of this blog has been totally foregotten. In fact, I do not recall being aware of this movie during its time, that is how obscure this movie was even during the era when it was made.
The movie had six songs in it. The songs are available. In case even the video of the songs (despite being of poor quality) are available.
Here is the first song from “Mangetar”(1972) to appear in the blog. The song is sung by Suman Kalyanpur and Rafi. Kaifi Azmi is the lyricist. Music is composed by Sudhir Sen.
The song is picturised as a romantic teasing song on a lady (who I guess is Anupama) and Deb Mukherji, with several other ladies playing the shelis of the lady.
I request our knowledgeable readers to help identify the actors visible in the picturisation of the song.
With this song, “Mangetar”(1972) makes its debut in the blog.
Song-Kyun main sharmaaun tumse (Mangetar)(1972) Singers-Suman Kalyanpur, Rafi, Lyrics-Kaifi Azmi, MD-Sudhir Sen
Lyrics
kyun main sharmaaun tumse
kyun main sharmaaun tumse
mujhko chheden meri sakhiyaan
tu laage laage mora sainyaan
tu laage laage mora sainyaan
kyun main ghabraaun tumse
kyun main ghabraaun tumse
mujhko ghoore teri ankhiyan
ja ja ja
laagoon tore painyaan
ho ja ja ja
laagoon tore painyaan
tu laage laage mora saiyan
laage mora sainyaan
kabhi pyaar ?? sanam kijiye
jayda naahin kam se kam kijiye
dil mein ik chor hai
pyaar ka shor hai
jisne baandha hai tujhe
kacchi kacchi dor hai
kacchi kacchi dor hai
khencho na sainyaan
kacchi kacchi dor hai
khencho na sainyaan
tu laage laage mora sainyaan
tu laage laage mora sainyaan
ja ja ja laagoon tore painyaan
laagoon tore painyaan
tera kaun thhikaana
dulha nakhre waala
dulha motor waala
ek chhori rah gayi
wo chhora ban ke rah gaya
bhala maaniye ya bura maaniye
jawaani ka sadka kaha maaniye
pyaar ki baat kyaa
jeet kya maat kya
tu diya hai main hawa
tera mera sath kya
tera mera saath to sapnon ki batiyaan
tera mera saath to sapnon ki batiyaan
ja ja ja
laagu tore painyaan
ja ja ja
laagoon tore painyaan
tu laage laage mora sainyaan
laage mora sainyaan
dekhoon main kab tak kanwaare rahoge
dekhoon main kab tak kanwaare rahoge
hamaare liye ho hamaare rahoge
samjho na tum pe maara rahoonga
shaadi bhi kar ke kanwaara rahoonga
kya bura haal hai
pyaar ka jaal hai
tu gire main na giroon
apni apni chaal hai
apni chaal hai
apni hai galiyaan
apni chaal hai
apni hai galiyaan
ja ja ja
laagoon tore painyaan
ja ja ja
laagoon tore painyaan
kyun main sharmaaun tumse
kyun main sharmaaun tumse
mujhko chheden meri sakhiyaan
tu laage laage mora sainyaan
tu laage laage mora sainyaan
ja ja ja
laagoon tore painyaan
Dhoondhha tujhe laakhon mein
Posted on: March 19, 2018
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 : | 3531 | Post No. : | 14184 |
“Putlibai”(1972) was produced by B K Adarsh and directed by Ashok Roy. The movie had Sujit Kumar, Jayamala(aka Jaimala), Meena T ,Suresh, Chandrashekhar, Leela Mishra, Hira Lal, Ram Mohan, Satyen Kappoo, Veena, Bhagwan Sinha, Badri Prasad, Altaf, Khurshid Khan, Laxmi Patel, Sherry, Uma Dutt, Kumud Tripathi, Jayashree.T etc in it.
The movie had five songs in it. Four songs from the movie have been covered in the past. Here are the details of songs of this movie which are already showcased in the blog :-
|
Song Title |
Post No. |
Post Date |
| Aise besharm aashiq hai ye aaj ke | 1323 | 21-May-09 |
| Mere meet bataa tujhe mujhse kab pyaar haa aur kaise | 1337 | 23-May-09 |
| Mere ghunghroo ke bol anmol rasiya | 8591 | 25-Aug-13 |
| Hey baabu chhedo na main shor macha doongi | 14174 | 17-Mar-18 |
Here is the fifth and final song from “Putlibai”(1972) to appear in the blog. This song is sung by Kishore Kumar. Anjaan is the lyricist. Music is composed by Jai Kumar Parte.
The song is picturised as a romantic song on Sujit Kumar and Jaimala. This song was quite popular during its time. I liked this song though I had no clue those days which movie this song was from.
With this song, “Putlibai”(1972) joins the list of movies that have all their songs covered in the blog.
Video
Audio
Song-Dhoondha tujhe laakhon mein (Putlibai)(1972) Singer-Kishore Kumar, Lyrics-Anjaan, MD-Jai Kumar Parte
Lyrics
dhoondhha tujhe laakhon mein
haan
tu aa basi aankhon mein
o tere liye teri kasam
maine saara zamaana chhod diya
dhoondhha tujhe laakhon mein
haan tu aa basi aankhon mein
o tere liye teri kasam
maine saara zamaana chhod diya
maine saara zamaana chhod diya
maine saara zamaana chhod diya
maine saara zamaana chhod diya
gora badan ye gulaabi nayan
ye khila champayi rang tera
ho gora badan ye gulaabi nayan
ye khila champayi rang tera aa
ye kya nasha dil pe chhaane laga
haaye jabse mila sang tera aa aa
dil pe nasha zyaada hai
poochho na kya iraada hai
ho tere liye teri kasam
maine saara zamaana chhod diya
dhoondhha tujhe laakhon mein
haan tu aa basi aankhon mein
ho tere liye teri kasam
maine saara zamaana
sapne tere ho ke apne mere
zindagi mein meri aise aaye
ho sapne tere ho ke apne mere
zindagi mein meri aise aaye ae ae
mahaki hawa leke bahki ghata
koi jaise veeraane pe chhaaye ae ae
pyaase hain hai hum zamaane se
aaja kisi bahaane se
ho tere liye teri kasam
maine saara zamaana chhod diya
dhoondhha tujhe laakhon mein
haan tu aa basi aankhon mein
ho tere liye teri kasam
maine saara zamaana chhod diya
maine saara zamaana chhod diya
maine saara zamaana chhod diya
maine saara zamaana chhod diya
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