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

Posts Tagged ‘Actor-Singer


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3558 Post No. : 14269

Today’s song is from the film Baadal-1942. The film was made by Eastern Pictures, Bombay. It was directed by Zahoor Raja. It had music by Mushtaq Hussain.

Zahoor Raja made his debut as a Director with Baadal-42. besides directing the film, Zahoor did the main Hero’s role and also sang 6 of the 11 songs that the film had.

Though the film was not successful at the Box office, Zahoor’s direction attracted the attention of critics. Seven of the 11 songs were written by Lyricist Tanveer Naqvi, and remaining 4 were penned by Shamim Bhairavi.

Tanveer Naqvi was born on 6-2-1919 in Lahore. His real name was Syed Khurshid Ali. After his education, he came to Bombay and met Abdul Rasheed Kardar- who at that time was making the film Swami-1941. Tanveer was given an opportunity and he wrote just one song which was composed by Rafiq Ghaznavi. However, when Kardar directed “Nai Duniya”-42, for CIRCO, Tanveer wrote 9 out of 11 songs for this film. Naushad was the composer. His songs included the famous Debut song of Baby Suraiya, ” Boot karoon main polish, babu….”

Tanveer’s best period was 1946-47, when he wrote for block busters like Anmol Ghadi, Jugnu and Nadaan-48. He was on top amongst Lyricists, but he chose to migrate to Pakistan after one more film, ” Parda”-49. For next 4-5 years he struggled in the Pak film inductry and then came back to India in 1954 and started writing songs till “Zameen ke taare”-60. Then he went back to Pakistan for good. There he wrote songs in Urdu and Punjabi films till 1971. he died at Lahore on 1-11-1972.

In India, he wrote 224 songs in 48 films.

The Music Director for Baadal was Mushtaq Hussain. This name may not be known to today’s music lovers. Mushtaq was famous as a Classical singer and was called a Ustaad. He started giving music to films in 1933. His first film was Aurat ka pyar-33. he gave music to few films only like Sauteli Maa-35, Balaa ki raat-36, Jaljalaa-36, Bhedi Trishul-38, Baghbaan-38, Pati patni-37, Kanyadaan-40, Baadal-42, Chhed chhad-43, Do ro die-44, Daasi ya maa-46 and his last film was Bombay 49. After this perhaps he realised that the public taste was changing and he left films. During the period of 1938, Naushad worked as his assistant in his struggle days and learnt few things.

The cast of film Baadal-42 was Zahoor Raja, Radha Rani, Urmila, A.R.Pehelwan, S.nazir, Radha kishen ( who left Prabhat after Padosi) etc.etc.

ZAHOOR RAJA (Born 7 July 1918 Abbottabad – Died 1992 England) Pre Partition Hindi/Urdu Film Actor, Producer, Director, Editor, Writer, Singer, Lyricist & Music Composer. He graduated from editing and story writing to become a producer-director in 1943.

Zahoor Raja was born in a wealthy family in Abbottabad, Pakistan. After schooling , he studied BA from Rawalpindi but could not complete his graduation as he was more interested in sports than in studies. His father, a Police Inspector, was keen in admitting him in Dehradun for a career in the army. But he ran away from home and landed in Bombay with a letter of introduction to Film maker A R Kardar. Since he was very handsome and well built man, getting into the Bombay film industry was not difficult. At that time, Kardar was directing ‘Mirza Sahiban’ (1939) for Ranjit Movietone and . Kardar took Zahoor Raja in the film. Within a year after the release of the film, V Shantaram invited him to join Prabhat Films and was taken on a contract of 3 years. His association with V Shantaram was not beneficial and he did not get much work. Kardar once again came to his rescue and got him employed in National Studios and got him a role in ‘Pooja’ (1940). Thereafter, he got a role in Minerva Moveitone’s ‘Sikandar’ (1941). During the making of the film ‘Sikandar’ (1941), he fell in love with his co-star Meena (Meena Shourie) and married her. The marriage did not last long and Meena later married another handsome actor, Al Nasir in the mid 1940s.

Zahoor Raja later worked as a Hero in ‘Sewa’ (1941). During this time, while looking for a change from his acting career, he got a chance to direct the film ‘Badal’ (1942) produced under Eastern Pictures where he also acted in the lead role. Though the film failed at the box office, his direction was appreciated by the critics. In 1943, he floated his own film production company, Raja Movietone and made its maiden film ‘Mazaq’ (1943) which he also directed, acted in a negative role and composed its music. His banner produced ‘O Panchhi’ (1944), ‘Ghazal’ (1945) and ‘Dhadkan’ (1946). In most of the films in which he acted, Zahoor Raja was paired with Radha Rani. He also sang the song ‘Bhulaane waale hamen bhi na yaad aaya karo’ along with Naseem Akhthar in the Movie ‘Ghazal’ (1945) composed by Gyan Dutt. His last Movie in India before moving to Pakistan was ‘Anmol Ghadi’ (1946)

After partition, Zahoor Raja returned to Pakistan in 1950 and he was active in Pakistani film industry until 1966. After 1966, he migrated to England, married an English lady and later died in 1992 in England.

Hindi film industry is full of ‘Same Name Confusions’ cases, especially for the decades of the 30s and the 40s. The Heroine of this film-Radharani was also one such case. There were two actresses, with same name and same active period. One was from Bombay and the other was from Calcutta. In film Baadal, Bombaywali Radharani had acted.

She was the daughter of a Military Officer. Born at Quetta, Baluchistan, in or around 1920-21, she had a British father and Indian mother. She had total Indian looks. Her initial education and schooling was done in Bombay. She became an expert in Horse Riding, swimming, cycling, driving and skating. She was very beautiful and attractive. At the age 15, she looked quite grown up with distinct features. While in school final itself, she got offers from films. Her first film was Romantic India-36. Being an expert singer, she started singing in films. Next she acted in Badhe Chalo-37.

She was called to Calcutta to act in film ‘ Swaraj ke Sipahi ‘-37. From Calcutta, she went to Madras to do a role in a Telugu film ‘ Bhakta Jaidev ‘-38. Returning to Bombay, Radha Rani acted in Sunehra Baal-38 and then joined Wadia movietone. Here she did 7 stunt/action films.

After this she became a freelancer and acted in 18 more films of different banners. She also acted in Punjabi film ‘ Kurmai’-41. Her achievements in films were amazing. Stepping directly from school classroom onto the Silver screen, in her first 5 years of career itself, she had bagged 15 feature films. This was mainly due to to her striking screen beauty, linguistic dexterity and histrionic versatility. She was a consummate actress, singer and dancer. She was very fond of reading English literature and would spend time reading books during shooting breaks.

She made a good pair with actor Zahoor Raja in 8 films. She acted in 3 films of his production company and in film Badal-42, he directed her. her last film was Rasilee-46. After this film she got married and went to England.

Filmography- Romantic India-36, Badhe Chalo-37, Swaraj ke sipahi-37, Bhakta Jaydev-38(Telugu), Sunehra Baal-38, kahan hai manzil teri-39, Hind ka lal-40, Diamond queen-40, Jai swadesh-40, Bambaiwali-41, Manthan-41, Safed sawar-41, Seedha Rasta-41, Darpan-41, Kurmai-41(Punjabi), Swami-41, Badal-42, Motorwali-42, Sewa-42, Suhagan-42, Jungle Princess-42, Mazaq-43, Mr.Jhatpat-43, Paraya Dhan-43, Sawal-43, Bhai-43, O Panchhi-44, Ghazal-45, Laaj-46 and Rasilee-46.

An interesting thing about the film title Baadal is that there were films made with this Title 5 times. The first time was in 1942 ( today’s film), then it was made in 1951, 1966, 1985, and in the year 2000. I have not seen this film Baadal-42, but from whatever I read in Film India about this film, it was a social film with a novel theme. As the film’s review was not available,I can not guess what the novelty was in the film story. However, in spite of very flattering, encouraging and excellent comments in the magazine, the film was not successful at all. After this debacle, Zahoor Raja floated his own company Raja Cinetone and made a few films, before migrating to Pakistan.

( Thanks for information used from Dhunon ki yatra, Hindi filmon ke geetkar, pakmag.com, HFGK and my notes )

Film Baadal-42 makes its debut on this Blog with this song.


Song-Aao chalen us paar (Baadal)(1942) Singers-Amirbai Karnataki, Zahoor Raja, Lyrics-Tanveer Naqvi, MD-Mushtaq Hussain
Amirbai Karnataki + Zahoor Raja
Amirbai Karnataki + Chorus
Amirbai Karnataki + Zahoor Raja +Chorus

Lyrics

aao chalen us paar
aao chalen us paar
aao chalen us paar
khevaiyya
khevaiyya

jahaan hawaa matwaali ban kar
gaati raag malhaar
neelam ka aakaash mahal ho
neelam ka aakaash mahal ho
aur taaron ki chahal pahal ho

chandralok mein chal kar dekhen
pariyon ka singaar
pariyon ka singaar
pariyon ka singaar
khevaiyya
khevaiyya

thehro
thehro
thehro thehro jaane waalon
jaana hai bekaar
jaana hai bekaar
pal pal dol rahi hai naiyya aa aa
padi huyi manjhdhaar
padi huyi manjhdhaar
?? ki maari ??
sata rahi hai aas
aao un ko jeewan de den
taras rahen mohtaaj
taras rahen mohtaaj

hansi khushi is paar chhod kar
sab jaayen us paar
sab jaayen us paar
sab jaayen us paar
khevaiyya
khevaiyya

andhe ko aankhen din tumne
bada kiya upkaar

bada kiya upkaar
ek jhande ke neeche ham sab
chalne ko taiyyaar

chalne ko taiyyaar
chalne ko taiyyaar
khevaiyya
khevaiyya
aao chalen us paar
aao chalen us paar
aao chalen us paar
aao chalen us paaaar

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

Blog Day : 3547 Post No. : 14233

“Nayi Bhaabhi”(1950) was directed by S D Narang for Bengal National Studios, Calcutta. This “social” movie had Kaushalya, Amarnath, Maya Devi, Smriti Biswas, Sundar, Cuckkoo, Ifthikar, Z Hussain, Rahi, Premkumari, Parvati, Lalloo etc in it.

This obscure movie had Seven obscure songs in it. Five of them were sung by Kaushalya which suggests that she played the title role.

Here is the first song from “Nayi Bhaabhi”(1950) to appear in the blog. The song is sung by Kaushalya. B M Sharma, who was one of the three lyricists (Charan Das and Mayil Lucknowi being the others) is the lyricist. Music is composed by Harbaksh Singh (who was one of the two music directors of the movie, Chishti being the other).

Only the audio of the song is available, but it is clear that the song was picturised on Kaushalya herself.

With this song, the movie “Nayi Bhaabhi”(1950) as well as the lyricist and the music director make their respective debuts in the blog.


Song-O main soyi thhi sapnon mein aaye sajan (Nayi Bhaabhi)(1950) Singer-Kaushalya, Lyrics-B M Sharma, MD-Harbaksh Singh

Lyrics

O main soyi thhi
haan haan
soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan
O main soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan

phool masti se mujh pe barasne lage
phool masti se
phool masti se mujh pe barasne lage
saare bulbul wahaan aa chahakne lage
saare bulbul wahaan aa chahakne lage
liye chaahat ki bu
chali harsu pawan
O main soyi thhi
sapnon mein aaye sajan

aha chaand
aha chaand
aha chaand aur sitaare chamakne lage ae ae ae
aha chaand aur sitaare chamakne lage
aha mil jul ke
haan haan mil jul ke
do dil dhadakne lage
mile yoonhi nainan
hanse dharti gagan
O main soyi thhi
sapnon mein aaye sajan

aaja sapnon ke meet mere sundar sangeet
aaja sapnon ke meet mere sundar sangeet
aaja tujko sikhaaun muhabbat ki reet
aaja tujko sikhaaun muhabbat ki reet
dekh tere liye mera dole hai man
o salone sajan
manmohne sajan
O main soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3544 Post No. : 14225

Today’s song is from the film Dhandora-41. It was a Ranjit film, directed by comedian N M Charlie. The music was by Ranjit’s resident composer Gyan Dutt. The song, penned by D N Madhok, is sung by Charlie himself.

What is the meaning of the word Dhandora ? As per the online dictionary, the simplified meaning is Elaan in Urdu, Proclamation in English. In Hindi it is Doundi and in Marathi it is Dawandi (दवंडी).

To understand this concept, we have to go back in time, when the means of communication were not many. The Public orders,Fatwas, New laws or any new announcement from the King for the public was through a Public Crier ( as he was called), with a big drum hanging from his neck onto his tummy. He would stand on a Public platform, like a Chavdi or in the middle of of a Market or Residential street. He would then start playing his drum loudly. When enough crowd had gathered, he would shout in a loud voice about the Proclamation from the authority. This entire process was called Dhandora or Dhandhora or Dhindhora ( the phrase “Dhindhora peetna” means to proclaim loudly ).

After the advent of modern and better communication means, this system was abandoned. However, in smaller villages and rural areas, its variation continued as a means of advertisements. I remember, during the visits to my Nanihal- which was a small town, in the summer holidays, in the early 40’s, we children used to run after the oxen cart in which the ‘Public crier’ or the person doing the advertisement and distributing hand bills sat. He would start banging his drum and shout the ad matter…mostly about a film.

The Hero of film Dhandora-41, who was also its Director, was Film industry’s First Superstar Comedian. Coming from a very humble family, he rose to be the king of Comedy in Hindi films, for a period of over a decade.

By the 1940s the system of Playback was firmly established. This actually came as a great relief to most composers. Till then they had to tolerate terrible non-singers. Now, except for few singing actors, all others could have playback from expert and professional singers. Despite this, in few cases, some producers insisted that their comedians sang their own songs. That is how, you can see songs by comedian Sunder, comedian Yaqub or comedian Charlie. Thank God other comedians like Master Bhagwan, V.H.Desai or Bhudo Advani did not / could not sing !

1945 was the period when Noor Mohammed Charlie was on peak of his popularity. He not only sang his songs, but he also became Hero in few pictures and stories were amended to give him more scope in the films. In the 1950s and the 1960s, this honour went to comedian Johnny Walker. Thank God, he did not sing songs ( though he spoke in his chirpy voice in some songs). Mohammed Rafi compensated enough for him by having a special style of singing and a special voice for Johnny Walker songs.

These days everyone likes the comedy of Amitabh Bachhan. His many films became Hits due to his comedy work. Today most of the Heroes do the comedy part in the film themselves. But till 1970, there used to be a separate slot for a comedian.

Today’s generation knows comedians like Paresh Raval, Anupam Kher etc. For them older comedians are Johnny Lever, Satish Shah or Rajpal Yadav. before that, they can think of Johnny Walker, Mehmood, Keshto Mukherjee, Asit Sen, Dhumal, Jagdeep, Asrani or Deven Verma. But the art of Comedy had started much earlier, in the 1930s and 1940s. Comedians like Ghori, Dikshit, Fatty Prasad, V H Desai, Bhudo Advani were famous. Amongst all the comedians of that era,there was ONE superstar of Comedy- NOOR MOHAMMED CHARLIE.

Noor Mohd. was born on 7-1-1911 at Ranavava, near Porbandar, Gujarat, in a Memon family (Later, comedian Mukri was also a Memon from Konkan area). Not intersted in studies, he was very fond of seeing films, even by stealing money from house, at times-if need be. He was sent to Bombay and worked as an Umbrella Repairer in a shop. His desire to become an actor was so strong that one day he straightaway went to Imperial Film Company’s owner and asked for a job. In the tradition of those days, he was asked if he could sing… His reply was,” I can sing, act, ride, run, fight, cry, laugh, quarrel, dance, play or swim”. He was hired instantly at a salary of Rs. 40 pm.

From 1925 to 1931 he did 9 silent films. In one of these films he did the acting of Charlie Chaplin. It became so popular that he made this get up his Trademark and developed Toothbrush Moustache ,like Charlie Chaplin. he also added ‘Charlie’ to his name. He did his first talkie film ” Zarina” in 1932 and then there was no looking back.

Initially with Sagar Movietone, he shifted to Ranjit and did 17 films with Ranjit. He became so famous and Popular that films were sold on his name. He was the First superstar amongst the comedians. He started to get special songs shot on him in almost every film-much before Johnny Walker in the 1950s. He sang his own songs. he left Ranjit and was the first actor to became a ‘Free-lance’ breaking the Studio system.

Some of his films and songs were famous over all India. In the film Sanjog, he sang ” Palat,tera dhyan kidhar hai “. This line became so famous that young boys in colleges used this line for calling girls,in those days. In the film Dhindhora, he sang ” ek do teen char panch chhe saat aath nau dus gyara bara,teri nazar ne mujhe mara”. ( Raj Kapoor used ‘Ek do teen aaja mausam hai rangeen’ and later Madhuri Dixit’s “Ek do teen” was very famous.) In the film Taqdeer he sang- “Thank you mention not” and ” I am very very Sorry”. This too became popular.

There was a time when Charlie drew more salary than even Prithwiraj kapoor ! He did about 62 films in all. he was the Hero opposite Swarnalata in Chaand Taara-45, hero opposite Leela Chitnis in Ghazal-45 and hero opposite Chandraprabha (Saraswati devi’s sister) in Dulha-46.

He directed only one film,while in Ranjit-Dhandora-41. Charlie sang 36 songs in 15 films.

After partition he opted for Pakistan. he did 6 Urdu, 2 Sindhi and 1 Punjabi films there but was not popular. He came back to India in 1960, but by then here too the position had changed. He did 3 films here. His last film in India was Ranjit’s last film ” Akeli mat Jaiyo”-63 and then that was the end of his film career and that of Ranjit studios too. Due to Visa problem, he had to leave India. He went to USA to live with his son, who had a dairy farm business. He had 6 sons and 6 daughters. Only 1 son-Latif Charlie became an actor In Pakistan. (He died on 19-7-2011). Charlie came back to Pakistan when his wife expired, but later he himself died in Karachi on 30-6-1983.

If he had not gone to Pakistan, who knows he would have prospered here. Mehmood and Johnny Walker consider him as GURU and have copied his actions in films many times. Raj Kapoor and Guru Dutt were also his fans. His film Manorama-44 was remade as Manchala in 1953 with Agha in his role. Thokar-39 was remade as Mai Baap and Taqdeer-43 was remade as Duniya ka Mela, with Mehmood in Charlie’s role.

When he died in Pakistan, no film personality from Pakistan Film industry attended his funeral. He died unsung !

The cast of film Dhandora-41 was Charlie, Husn Bano, Shameem, Dikshit, Ghori, E.Bilimorea, Bhagwan Das, Kesari etc etc.

With a plethora of Comedians in the film, one could easily make out the film’s genre. For the Heroine, Husn Bano, this was something new, because till then, she had been working only in Stunt/action films of Wadia Movietone like, Kala Gulab, Hind Kesari, Desh Deepak, Noor E Yaman etc etc. Husn Bano was the love child of actress Shareefa. Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34”. After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films.

When she was selected for Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie. All her experience was for stunt films only.

Husn Bano acted in 53 films and sanf 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house “Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

The story of film Dhandora-41 was by Charlie himself. He was the Hero and also the Director. Dialogues and most lyrics were by D N Madhok. The story of the film was…..

Two young persons, Pyare (Charlie) and Mansukh(Dikshit) are working as Extras in films. They are actually nobodies, but crave for publicity in some way or the other. Pyare and Mansukh give it a long thought and come up with a crazy idea. It is planned that Mansukh should ‘murder’ Pyare. Then Mansukh will be caught and their names will be flashed on front pages of Newspapers and on Radio news. Thus they will become famous. The murder, of course , has to be only a fake one. Then Pyare would go out of Bombay and appear directly in court, when Mansukh would be convicted.

Everything takes place as planned. Mansukh is arrested. Pyare leaves secretly for Calcutta. In the train Pyare meets Banwari (Bhagwan Das)-a Theatre Manager and his beautiful daughter Kumud (Husn Bano). They continue meeting in Calcutta also and as expected, fall in love. In all this jhamela, Pyare forgets about Mansukh.

One day Pyare comes across a stupid fellow-Uttam ( Charlie’s double role), who looks exactly like him (naturally!). Uttam is the son of Calcutta’s rich person Sir Niranjan (E.Billimoria). For a better period of the film,after Interval, there are many scenes depicting the inevitable and sometimes intentional confusions due to the look-alikes.

In Bombay, Mansukh is dragged to the court and his case starts. There is no Pyare anywhere,as planned. Pyare loses all hope. He is convicted and sentences to death by hanging. Fortunately, when Mansukh is dragged to the Hangman’s rope, Pyare appears and clarifies that he is alive and there was no murder at all. Mansukh is released Baa-ijjat.
The Happy End !

For a long time, the songs of this film were not available anywhere. Luckily Mr. Shalin Bhatt uploaded 4 songs on You Tube, this month only-on 9th March 2018, to be precise. He is one of the few collectors, who upload full and complete songs. May his tribe grow ! There were 9 songs in the film, written by Madhok and Buta Ram Sharma. The music was by Gyan Dutt.

GYAN DUTT (Born 1915/1920 – Died on 3 December 1974) was an early Indian Film Composer and Music Director. He was Music Director for films such as Thokar (1939), Achhut (1940), Bhakta Surdas (1942), Sunehre Din (1949) and Ghayal (1951). Many of his songs were sung by K. L. Saigal. In 1948 he composed seven songs for a young Geeta Roy in the films Chanda Ki Chandani and Hua Savera, although their most notable collaboration was Dilruba (1950) in which Geeta Roy had 10 songs, seven of which were solos for Geeta Roy.

There were a few composers who were neither here nor there. Gyan Dutt was one of them. True, in his time there was no Parallel cinema, but Critics were very much there. Though he operated from 1937 to 1965-almost 30 years, he never became famous as some of his contemporaries like, Anil Biswas, C.Ramchandra, Naushad etc. He was a Bengali born in Bangalore. There are conflicting reports not only about his Birth year (1915 or 1920),but also about Birth place. Some sources say he was born in East Bengal.

As was the practice those days, Gyan Dutt ( real name Jnanan Dutt) was employed by Ranjit studios ( “we have more stars in our studio that there are in the sky”), along with other composers. He composed music for 25 films in Ranjit from 1937 to 1940. Khemchand Prakash, who replaced him in Ranjit did 20 films from 1940 to 1945 and then it was Bulo C Rani who did about 25 films after 1945 onwards. For most films of Gyan Dutt in Ranjit the film directors were Gujaratis like, Jayant Desai, Chaturbhuj Doshi, Chandulal Shah, Manibhai Vyas etc. He was called Pandit Gyan Dutt.

In those days, hero and Heroines used to sing their own songs. Thus his songs were sung by Waheedan bai, Khatoon, Kalyani,Sunita Devi, Ila Devi, Madhuri, Sitara, Indubala, Vasanti, Savita Devi, Miss Rose, Meera, Gauhar, Snehprabha Pradhan etc.Among males it was Ishwarlal, Kantilal, Ghori, Bilimoria, Charlie etc.

Gyan Dutt gave music to 58 films, but songs from only Saigal’s Bhakta Surdas-42 and Raj kapoor’s Sunehre Din 49 are well known. Actually songs of Aapki Marzi-39 and Sant Tulsidas-39 were also popular in those days. Khursheed sang many songs for him. He also sang a few songs himself. His last film was janam janam ke Saathi-1965.

Gyan Datt remained employed with Ranjit Movietone and gave music is many films including Toofani Toli(1937), Bazigar (1938), Gorakh Maya (1938), Nadi kinare (39), Musafir (1940). In Toofani Toli he made Wahidan bai (Mother of Nimmi) sing “Kyon Naianan mein neer bahaye”. Many singers like Kantilal, Kalyani, Rajkumari, Khursheed and Manna Dey sang his songs. His last film was Janam janam ke saathi (1965) in which duet was sung by Mukesh & Suman Kalyanpur, Hemant Kumar &Indrani Roy.The most notable among his compositions being Sunehre Din (1949) and the song – Maine Dekhi Jag Ki Reet Meet Sab Jhoote Pad Gaye sung by Mukesh and Shamshad Begum.

His death came on 3-12-1974 in Bombay. Unfortunately except for a small time less known composer Sapan Chakravarty,no one from the film industry attended his funeral and a good composer died unsung, unknown and all alone.

Here is a song which is a precursor to many subsequent songs of Hindi films. It starts counting straight up to Twelve… a typical comedy song. Enjoy…..


Song-Ek Do Teen Chaar paanch chhe saat aathh (Dhandhora)(1941) Singer-Noor Md Charlie, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

ek ek hain do
ek ek hain do
murge ?? dil mat ro
do do hain chaar
do do hain chaar
mujhe tera intezaar
do do hain chaar
mujhe tera intezaar
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

chaar aur do chhe
chaar aur do chhe
jee bhar ke deedaar le
chaar aur do chhe
jee bhar ke deedaar le
jee bhar ke deedaar le
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

dus aur dus bees
aur dus tees
aur dus pachaas
ae dus chaalees
aur dus pachaas
aur dus saath
aur dus sattarrr

chaudhvin ke chaand se mera yaar nahin kamtar
chaudhvin ke chaand se mera yaar nahin kamtar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aaibo ke jaibo
andheriya hai raat
sajan aiyo ke jaiyo
andheriya hai raat
sajan aibo ke jaibo

assi aur bees sau
chup kyon ho
kuchh kaho
assi aur bees sau
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh


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 : 3539 Post No. : 14210

“Main Aazaad Hoon”(1989) was produced by Habib Nadiadwala and directed by Tinnu Anand. The movie was an adaptation of Frank Capra’s “Meet John Doe”(1941). Amitabh Bachcahn played the lead role in the movie.

While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. “Main Aazaad Hoon”(1989), like its Hollywood original, showed the hero as a common man, helpless against system. Indian audience, brought up on staple diet of escapist movies were not mature enough to appreciate movies that were off the beaten track. People expected Amitabh Bachchan to play his usual larger than life superman like character, but the movie depicted him as an ordinary man, as powerless and helpless as most ordinary men, and movie goers were not prepared for that. While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. So it showed, if any proof was needed that Indian audience of 1989 had not reached the maturity of Hollywood audience of 1941 !

Personally I quite liked the movie, but I was in a minority. Most other people had expected to see Amitabh Bachchan as an angry young man of “Trishul” or “Andha Kaanoon” and they felt let down with the non escapist fare that this movie served.

“Main Aazaad Hoon”(1989) had just one song in it.

Here is that sole song from “Main Aazaad Hoon”(1989). This song is sung by Amitabh Bachchan and chorus, in addition to some unidentified voices. The song is sung by Amitabh Bachchan and it is picturised on himself. Kaifi Azmi is the lyricist. Music is composed by Amar Utpal.

Since it is the only song from the movie, this song serves dual purpose simultaneously. This song is the debutant song as well as a YIPPEE song. So one can say, rather pompously that “Main Aazaad Hoon”(1989), makes its debut in the blog with this song and get YIPPEED as well. 🙂


Song-Itne baazoo itne sar (Main Aazaad Hoon)(1989) Singer-Amitabh Bachchan, Lyrics-Kaifi Azmi, MD-Amar Utpal
Chorus
Unknown male voice

Lyrics

itne baazu itne sar
hmm
itne baazu itne sar
gin le dushman dhyaan se
hmm hmm

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
jee jaan se

aao
aa jaao
jag pe chha jaao
ji jaan se
haan
ye hui na baat
aise hi gaate hain
ek do

aaye ho tum to aao
jee jaan se
hamen aake raah dikhaao
jee jaan se
manzil pe hamen pahunchaao
jee jaan se
aao
aa jao
jee jaan se
jag pe chha jao
ji jaan se
aao mere saath aao
ji jaan se
meri dhun mein tum gaao
ji jaan se
milke lashkar ban jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
ginle dushman dhyan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khele hum ji jaan se

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se

aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se

maalik ka dhan jo badhaaye
ji jaan se
?? hi dhan ban jaaye
ji jaan se
kyun na ik din lad jaayen
jee jaan se
aao
aa jaao
ji jaan se
jag pe chhaa jaao
ji jaan se

ek duniya sang hai
ye haq ki jung hai
ek duniya sang hai
ye haq ki jung hai

laalach se takraana hai
beshak takraayenge
haan
laalach se takraana hai
beshak takraayenge
jinko jhukna aata hai
saare sar kat jaayenge
jinko jhukna aata hai
saare sar kat jaayenge
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
aao aa jaao
jag pe chha jaao
aao aa jaao
jag pe chha jaao

itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi jab khelen hum ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
harega wo har baazi
jab khelen hum ji jaan se


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 : 3529 Post No. : 14175

“Toote Khilaune”(1978) was directed by Ketan Anand for CHakravyooh Productions, Bombay. This “social” movie had Shaban Azmi, Shehar Kapoor, Utpal Dutt, Rakesh Pandey, Urmila Bhatt, Shobhana Shah, Meena Chitnis, Jankidas, Bharat Kapoor, Gautam Sareen, Sharat Saxxena, D Kumar Vivek Adharkar, Master Ravi, Mahesh Bhatta, Sooraj Saneem, Prem Prakash, Vimal Chopra, Dharmveer, Gurbachan Singh, Bhagwan, Dhanna Lal, Jugnu Jain etc with special role by Ambika Johar.

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

Here is the fourth song from “Toote Khilaune”(1978) to appear in the blog. This song is sung by Bappi Lahiri. Kaifi Azmi is the lyricist. Music is composed by Bappi Lahiri.

The song is picturised on Shekhar Kapoor, the hero of the movie. It was perhaps the first time that Bappi Lahiri sang a song under his own composition, much like how R D Burman used to do. But unlike R D Burman, he would end up overdoing it in future.


Song-Bandhan kat gaye baadal chhant gaye(Toote Khilaune)(1978) Singer-Bappi Lahiri, Lyrics-Kaifi Azmi, MD-Bappi Lahiri

Lyrics

bandhan kat gaye ae ae
baadal chhant gaye ae
patthar hat gaye ae
raah ke ae
bandhan kat gaye ae
baadal chhant gaye ae

chale aage aage deewaana
rahe kahin peechhe zamaana
lage na samay ka nishaana
main chala lo main chala aa
main chala lo main chala
u u u u u
chale aage aage deewaana
rahe kahin peechhe zamaana
laga na samay ka nishaana
main chala main chala
main chala

oy oy oy oy oy
oy oy oy oy oy
oy oy oy oy oy
oy oy oy oy oy
bandhan
bandhan
kat gaye ae
kat gaye ae
baadal
baadal
chhant gaye
chhant gaye
patthar
patthar
hat gaye
hat gaye
raah ke
raah ke

haan
jise na ho chalna gawara
kaho kare hamse kinaraa
ruke nahin roke se thhaara
main chala lo main chala
main chala lo main chala
u u u u u u
jise na ho chalna gawaara
kaho kare humse kinaara
ruke nahin roke se thhaara
main chala
main chala
main chala

oy oy oy oy oy
oy oy oy oy oy
oy oy oy oy oy
oy oy oy oy oy
bandhan
bandhan
kat gaye ae
kat gaye ae
baadal
baadal
chhant gaye
chhant gaye
patthar
patthar
hat gaye
hat gaye
raah ke
raah ke
ho o
ho o o o
ho o o o o
o o o
ho o o o o


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 : 3520 Post No. : 14136

There are many artists for whom I’ve written posts here, remembering them on their birth or death anniversaries. But there are two artists who have featured more than others in this regard. I remember them every day anyway – so on their anniversary it is only a matter of a different intensity. I am grateful to them every single day for their legacy, the treasure trove they have left us behind with. They are long gone now from this world – coincidentally they went within a few months of each other – but they remain, and will always remain, in my heart. And not just my heart, but millions of hearts. Such is the love we have for them, such is the hold they have over us.

I am of course talking about two giants of the industry – Rafi Saab and Sahir Ludhianvi.

Today happens to be the 97th birth anniversary of Sahir – and here I am, writing yet another post in his memory. I have already written many posts on him, so I expect this will be a short one. At least, by my standards. 🙂

From all accounts, Rafi Saab and Sahir were like chalk and cheese. Rafi Saab is reported always having a smile on his lips, a total lack of ego, easy to work with, a generally non-controversial nature – and was one of the most-loved artistes in the industry.

In contrast, Sahir was seen as egoist, not the easiest person to work with. He was seen as often being bitter and rebellious. He had his fair share of controversies – and differences with other artistes. It’s also fair to say that while everyone acknowledged his genius as a poet and lyricist, he didn’t exactly endear himself to one and all.

And yet both of them have a special place in my heart. They were masters of their craft, and when they executed it, whether through the written word (Sahir) or through his voice (Rafi Saab), the words went straight to my heart.

Since this is a post for Sahir’s anniversary, I will keep it to Sahir from here on.

Sahir needs no introduction to anyone here. And if he does, there are far better sources to discuss him than this post, so I would recommend checking out any of them. Here I will only talk briefly about why I love Sahir so much. It goes without saying that Sahir’s poetry (which often found its way in his lyrics) was in a class of its own. In fact, he often dumbed down (simplified) his poetry to make it more understandable for film-going audiences.

Much of Sahir’s poetry is understandably in Urdu – and his lyrics for film songs too have a strong Urdu slant to them. As a big fan of Urdu, I thoroughly enjoy listening to Sahir’s poetry and lyrics, even if I don’t always understand them. 🙂 But if it were only Urdu that attracted me to him, that would be at one level only. After all, I have a great regard for Shakeel Badayuni too – his lyrics were also often Urdu-based, and second to none.

No, it is more than just Urdu that attracts me. It is the poet himself – Sahir, the person.

To the world, his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue might have made him intolerable. To me, I think it is these very qualities that helped him write the poetry he did. You cannot be dispassionate, you cannot be without fire in your belly – and write rousing poetry. It just doesn’t work. An actor might be able to completely keep his persona behind and immerse himself in a role the moment the director screams “Action”. After all, he is an actor – his job is to be somebody he isn’t in real life.

On the contrary, for a poet, his writing is nothing but an expression of himself and his creativity. And that creativity is a function of his mind, heart and soul. So it is only natural that how he thinks or feels will get reflected in his writing. It is possible to of course separate the two – and seasoned poets do – but when the poetry is in sync with the mood, it probably flows much more naturally. I’m guessing this – I’m no poet. 🙂

So Sahir throwing his feelings into his poetry is something I totally approve of. Now, to the content itself.

In his inimitable style, he wrote on a variety of topics. But he is most identified with having a strong opinion on social issues of the day – and never hesitating to express his opinion. He often used his poetry as a medium to convey a strong message. Sometimes showing a mirror to society, sometimes questioning the government of the day. Sometimes exposing hypocrisy, sometimes calling for revolution. Whatever it was, he was not just another poet content to write some lyrics and get paid for them. He was socially sensitive – and clearly the ills in society bothered him deeply. And this is one of the main reasons I SO love Sahir. How I wish we had more poets like him today, with so much awareness and concern for the plight of the common man!

He has written about injustice in society (“Samaaj Ko Badal Daalo”), about the need for unity in a fractured society (“Tu Hindu Banega Na Musalmaan Banega“), about women’s plight in India (“Aurat Ne Janam Diya Mardon Ko”), about hope (“Na Munh Chhupa Ke Jiyo”, “Ponchh Kar Ashq Apni Aankhon Se“, “Wo Subah Kabhi To Aayegi”) and despair (“Ye Duniya Agar Mil Bhi Jaaye To Kya Hai“, “Jinhen Naaz Hai Hind Par Wo Kahaan Hain“, “. . .Rehne Ko Ghar Nahin Hai, Sara Jahaan Hamaara“).

For someone who had a grounding in Urdu, he could write beautiful bhajans like “Tora Mann Darpan Kehlaaye“, “Prabhu Tero Naam“, “Allah Tero Naam“, “Meri Sun Le Araj Banwaari“,  and the immortal “Aan Milo Aan Milo Shyam Saanwre“.

Then there is the philosophical Sahir too, exemplified in songs like “Aage Bhi Jaane Na Tu“.

A recurring theme in his writing is the mother-child relationship, maybe based on his own experiences in life. It is well-known that he was particularly close to his mother – and chose her above his much more affluent father when he had to make a choice. So we see beautiful lyrics on mother-child in ‘Dhool Ka Phool’ (“Tu Mere Pyaar Ka Phool Hai“), ‘Mujhe Jeene Do’ (“Tere Bachpan Ko“), ‘Trishul’ (“Tu Mere Saath Rahega Munne“)  – and I am sure some other films too.

Then there is the qawwaali Sahir. He excelled in them, with the qawwaalis of ‘Barsaat Ki Raat’, ‘Dharamputra’ and ‘Taj Mahal’ showcasing just some of his work.

And then there is the romantic Sahir. Yes, while he wrote about all other aspects of life, he did not come up short on what was bread-and-butter for most poets – romantic poetry. He could write the most romantic lines – the romantic songs of ‘Gumraah’ and ‘Hamraaz’, for example, just take your breath away. And not just these films – think of songs like “Parbaton Ke Pedon Par” from ‘Shagoon’, and on the same ‘parbat’ theme, “Ye Parbaton Ke Daayare” from ‘Vaasna’.

I can go on and on, discussing his songs, but I think I need to now come to the song for today. It is also a romantic song, but this time from very late in his career. It is no secret that in the 1970s, Sahir was disillusioned with the quality of lyrics on offer in Hindi cinema. Urdu, which offered so much richness to lyrics, was being phased out and replaced with more ‘chaalu‘ lyrics. In general, films (and music too, I might add) had become more loud and less, for want of a better word, classy.

He himself withdrew for a bit – and while he continued to work for the BR Chopra/Yash Chopra banners, he wasn’t as prolific as in the 60s. His disillusionment is probably best expressed in one of his most memorable songs of the decade – “Main Pal Do Pal Ka Shaayar Hoon“.

It is in this context one needs to see the song for today. It is from the 1980 film ‘Chehre Pe Chehra’, a film that makes its debut on the blog today. I remember this film being released – and being a flop. I haven’t seen the film – my understanding is, it’s based on the famous ‘Dr. Jekyll and Mr. Hyde’ story. Sanjeev Kumar plays the dual role. The song is a romantic song – and pleasant enough, even if it doesn’t quite scale to the level of his heady songs of the 1960s. Even so, in comparison to the fare around at the time, I’d say its lyrics are better than most other songs of the time. Of course this is just my personal opinion.

Let’s now listen to the song, sung by Sulakshana Pandit and Rafi Saab. Music is by N Datta, one of his most famous pairings. I leave it to you to judge for yourself what you make of this song. I quite like it.

Lyrics were provided to me by the ever-helpful and reliable Avinash ji. A big thanks to him. He makes it so much easier for me to just focus on the write-up itself.

Video (Partial)

Audio (Complete)

Song – Aaj Socha Hai Khayaalon Mein Bula Kar Tum Ko (Chehre Pe Chehra) (1980) Singer – Sulakshana Pandit, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta
Sulakshana Pandit + Mohammed Rafi

Lyrics (Provided by Avinash Scrapwala)

aaj socha hai. . .
aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai

aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai

aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise  kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha  paas bulaana hi na thha
aao toote huye
aao toote huye
khwaabon ki jiyaarat kar len
aaj socha hai ae

ranjishen bhi wahin palti hain
jahaan pyaar paley
pyaar hi jis se nahin
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hoon
aur chaahat ki duaaon ka sila kya hoga
ranjishen bhool ke
ranjishen bhool ke
khwaabon ko haqeeqat kar len
aaj socha hai

kya kahoon main tumhen
kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar len
aaj socha hai
aaj socha hai
khayaalon mein bulaakar tumko
pyaar ke naam pe thodisi shikaa …

hmm hmm hmm hmmmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

aaj socha hai. . .
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
आज सोचा है॰॰॰
आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर लें
आज सोचा है

आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर ले ए ए
आज सोचा है

ऐसे बिछड़े हो के जैसे कभी मिलना ही नहीं
ऐसे भूले हो कि जैसे कभी जाना ही नहीं था
अजनबी बन के अगर यूंही सितम ढाना था
पास आना ही न था पास बुलाना ही न था
आओ टूटे हुए
आओ टूटे हुए
ख़्वाबों कि ज़ियारत कर लें
आज सोचा है ए

रंजिशें भी वहीँ पलती हैं
जहाँ प्यार पले
प्यार ही जिससे नहीं
उस से गिला क्या होगा
मेरी उम्मीद है तू
तेरी तमन्ना मैं हूँ
और चाहत की दुआओं का सिला क्या होगा
रंजिशें भूल के
रंजिशें भूल के
ख़्वाबों कों हकीकत कर लें
आज सोचा है

क्या कहूँ मैं तुम्हे
क्या समझा है क्या माना है
मेरी चाहत ने तुम्हें
अपना खुदा माना है
अपना हिस्सा हि तुम्हे मैंने सदा माना है
जान को किसने भला तन से जुदा माना है
जान और तन से
जान और तन से नया अहद-ए-मोहब्बत कर लें
आज सोचा है

आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिका…

हम्म हम्म हम्म हम्मम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म

आज सोचा है॰॰॰


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 : 3509 Post No. : 14100

Every morning I walk my pets by turns. That is a good time for thinking and getting interesting thoughts. I realised that our blog centuries (when they are taking place at their normal pace) are like lunar months. In the past, we would complete our centuries in 15-16 days which was like one paksh of a lunar month. Nowadays we are taking nearly twice as long to complete a century. In other words, our centuries these days take as long as a lunar month. In other words, these days we are getting one century post per month.

It is different this month. In this month of february 2018, we had touched post number 14000 on the very first day. Today, towards the fag end of february 2018, we reach the next century, viz 14100th post in the blog. It is rare to have two full moons in one month and that has led to the phrase “once in a blue moon”. January 2018 was a blue moon month as far as two full moons were concerned. February 2018 is a “once in a blue moon” month for the blog as far as appearance of two century posts is concerned. When I checked up, I found that the last time we had two century posts in a month was in april 2017. 🙂

Whenever one is dealing with big numbers, one cannot help but devise some statistical tools to judge one’s performance. In limited overs cricket, we have strike rate. In this blog, I have devised a term called blog strike rate. Blog strike rate is nothing but the number of songs per day. One can divide the number of song posts by the number of days in which these posts appeared. We are going at a strike rate of just over 4 songs a day throughout the existence of the blog.

Then there are other interesting statistical analysis that are possible. For instance, number of songs that were created in a year and the number of songs from that year that are covered in the blog. Another variation is number of movies that were released in a year and the number of movies of that year that are represented in the blog. For instance, the year 1964 had 99 movies and 671 songs. The blog has 90 of these movies and 422 of these songs represented in the blog. 44 of these movies are already YIPPEED. So 46 up YIPPEED movies plus nine unrepresented movies from 1964 remain to be covered in the blog.

Covering the as yet unrepresented songs may not be as simple and straightforward as it may appear to the uninitiated. For instance, the nine missing movies of 1964 are rare movies. Sudhir Jee is on a mission to cover the missing movies of 1960s. In two years and three months he has covered more than 60 missing movies of 1960s in the blog. There were 929 movies released in 1960s. As many as 808 of them are covered in the blog with 361 of them already YIPPEED. So just over one hundred movies of 1960s are yet to be covered in the blog. We are making progress regularly. Still a stage will come when we will end up a few movies and a few hundred songs short because of unavailability of the remaining movies and /or songs. In all some 6521 songs were created in 1960s. The blog has 3488 of them. Just over 3000 songs of 1960s remain to be covered.

The decade of 1950s is the most well represented in the blog. 1111 movies are 8654 songs were created during this decade. The blog has 996 movies and 4627 songs represented in the blog, with 348 of these movies already YIPPEED.

Another statistics that is of great interest to me is the number of artists represented in the blog.The lyricists, singers and music directors represented in the blog add up to over 2000. The number of artists on whom these songs were picturised, or who helped create these movies also add up to a considerable number.

Well known artists find considerable representation in the blog. In addition, the blog also gives coverage and recognition to artists who are lesser known and even obscure.

This century songs seeks to recognise the contribution of one of the lesser known artist. This artist is Johny Whisky. This name is obviously inspired from Johny Walker. Johny Whisky (8 february 1932- 7 december 2006), originally named Sheikh Zennul Abdeen, has figured in bit roles in lots of movies starting from 1960s till 1990s. He worked in bit roles and he was too insignificant an actor unlike Johny Walker who tended to have at least one song earmarked for himself in ever movie. Still, Johny Whisky’s voice has been used in a few songs. Johny Whisky got to lend his voice in a song in “Akeli Mat Jaiyyo” (1963), viz. Chal chal chal mere dil and in a song in “Anjaam”(1968) viz. Mubaarak ho tumko ye jungle puraana.

The song under discussion is one where Johny Whisky is the main singer. Johny Whisky plays a eunuch who in India tend to look for houses with newborns. They would reach that house armed with dholaks and sing “badhaai”. That is the main occupation of this third gender in India.

The song is a “badhaai” song which is sung by Johny Whisky and chorus. Though only the audio is availabble, but it is clear that the song is picturised on Johny Whisky and others playing “hijdas”. Though this song is mentioned as a traditioan song, Sahir Ludhianvi is credited as the lyricist of this song in Akshay Manwani’s ‘Sahir Ludhianvi- The People’s Poet’.

Music is composed by C Arjun.

This song is the fifth and final song from the movie so this doubles up as the YIPPEE movie of the day as well.

Here are the details of the earlier songs from the movie covered in the blog.

Song Title

Post No.

Post Date

Ham mein hai kyaa ke hamen koi haseena chaahe 5212 28-Dec-11
Ab se pehle to ye dil ki haalat na thhi 7942 20-Apr-13
Ek khwaab e tamanna bhoole thhe 12493 25-Oct-16
Us jaan e do aalam ka jalwa (Nawaab Saahib) 13373 26-Jun-17

Lyrics of this song were sent to me by Avinash Scrapwala.

With this song, “Nawaab Saahib”(1978) joins the list of movies that have all their songs covered in the blog. The blog ofcouse clocks 14100th song post with this song.

As always, I take this opportunity to thank one and all for their continous support, encouragement, contributions, suggestions etc which is helping this bandwagon moving along in this musical journey where we rarely halt at any stops.


Song-Ladke ki aaj main mubaarakbaadi dene aayi (Nawab Sahib)(1978) Singer-Johny Whisky, Lyrics-Sahir Ludhianvi, MD-C Arjun
Chorus
Johny Whisky + Chorus
Unknown male voice

Lyrics(Provided by Avinash Scrapwala)

Mubarak ho o
Salaamat raho o
Kahaan chale gaye sab log
Dholak nikaalo
Shurru karo

Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

Mubaarak baadi dene aayi
salaamat baadi gaane aayi
Mubaarak baadi dene aayi
Salaamat baadi gaane aayi

Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

Chandan ka palnaa laayi
aur
Resham ki dori laayi

Kurta aur topi laayi
Aur ?? laayi
Dena sarkaar more
Manmaange muraad paayi
Dena sarkaar more
Manmaange muraad paayi

Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

Haaye ek ruppalli
Haaye
Haaye

Inke Khaalu
Daiyya re daiyya
Inki Maami
Daiyya re daiyya
Unke chaacha
Daiyya re daiyya
Bachcha jachcha pe shobhe
Heera moti panna jaise
Chaand ke aas paas
Taaramandal chamke jaise
Dena sarkaar more
Manmaange muraad paayi
Haan
Dena sarkaar more
Manmaange muraad paayi

Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

O koi filmi gaana sunaao na
to Haan leo
Filmi gaana suno
Inhi logon ne
Inhi logon ne ae
Inhi logon ne
Le leena aa
Le leena
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera
Inhi logon ne
Le leena
Duppatta mera
Inhi logon ne ae
Inhi logon ne ae
Inhi logon ne ae
Aa hey
Inhi logon ne ae
Inhi logon ne ae
Le lina
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera aa

Amaa yaar
Koyi phadakta huaa gaana sunaao

Nazar laagi raaja tore bangle pe
Nazar laagi raani tore bangle pe
Nazar laagi raani tore bangle pe

Aa aa
Tore bangle pe raaja aa
Tore bangle pe
Tore bangle pe raaja aa
Tore bangle pe
Haay haay
Nazar laagi raaja tore bangle pe

Nazar laagi raaja tore bangle pe
Nazar laagi raaja tore bangle pe


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 : 3509 Post No. : 14099

“Deewaali Ki Raat”(1956) was produced by Vishandas Sapru and directed by Deepak Asha for V.A.R.Productions. The movie had Talat Mehmood, Roopmala, Shashikala, Gope, Motisagar, Neeta etc. in it.

Five songs from the movie have been discussed in the past. Here is the sixth song from “Deewaali Ki Raat”(1956) to appear in the blog. This song is sung by Madhubala Jhaweri and Talat Mehmood. Madhukar Rajasthani is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available, but it is clear that this song was picturised on Talat Mehmood himself. I request our knowledgeable readers to tell about the lady who lip syncs the song in Madhubala Jhaveri’s voice.


Song-Kehne ko bahut kuchh kehna thhaa (Deewaali Ki Raat)(1956) Singers-Madhubala Jhaveri, Talat Mehmood, Lyrics-Madhukar Rajasthani, MD-Snehal Bhatkar
Both

kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
takraayi nazar sharma hi gaye
is jhukti nazar ko dekh sanam
hum piye bina lehra hi gaye
hum piye bina lehra hi gaye
kehne ko bahut kuch kehna thha

zulfon ki ghataaon mein chhup kar
zulfon ki ghataaon mein chhup kar
ji bhar ke chala lo teer-e-nazar
ji bhar ke chala lo teer-e-nazar
ulfat ki ada ke deewaane
sau teer jigar par kha hi gaye
sau teer jigar par kha hi gaye
kehne ko bahut kuchh kehna tha

tum raaz-e-mohabbat kya samjho
tum ishq ki baaten kya jaane
tum ishq ki baaten kya jaane
haye ae
kacche dhaage se bandh kar
sarkaar meri tum aa hi gaye
sarkaar meri tum aa hi gaye
kehne ko bahut kuch kehna thha

ae saaz-e-jawaani chhed koi
ae saaz-e-jawaani chhed koi
ek geet suhaana pyaar bhara
ek geet suhaana pyaar bhara
do pyaar bhare dil aaj miley
manzil ko apni pa hi gaye
manzil ko apni pa hi gaye
kehne ko bahut kuchh kehna thha

ae raat yahi par ruk ja tu
ae chaand sitaaron mat dhhalna
ae chaand sitaaron mat dhhalna
andaaz-e-bayaan se jaahir hai
hum un ke dil ko bha hi gaye
kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
kehne ko bahut kuchh kehna thha


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 : 3502 Post No. : 14069

“Miss Frontier Mail”(1936) was produced under the banner of Wadia Movietone and was directed by Homi Wadia. The star cast included Fearless Nadia, Sardar Mansur, John Cawas, Sayani Atish, Jaal Khambata. Gulshan,  Jaidev, Master Mohammed, Meenu Cooper, Bashir Qawwal, Munchi Thoothi etc.

Mr Sadanand Kamath, our beloved inhouse HFM researcher has given some interesting information about this movie. He informs that the movie was originally named “Frontier Mail”. Frontier mail which used to run between Bombay and Peshawar was the most prestigious train of BBCI Railways. The promotional posters of the movie carried the picture of a train crash. BBCI offcials took exception to that. In order not to displease the BBCI officials, The movie makers changed the name of the movie to “Miss Frontier Mail” and carried the disclaimer that the movie was about the adventures of a lady and had nothing to do with the train.

The story of the movie, as reconted by Mr Sadanand Kamath is as following:-

The Deputy Station Master at a railway station is murdered by a masked man. He escapes from the scene just before the Station Master Maganlal (Master Mohammed) arrives. Maganlal touches the knife which has been used by the masked man to kill the deputy. The police arrest Maganlal for the murder. His daughter Savita (Nadia) and son Jayant (Jaidev) is informed by their uncle, Shyamlal (Sayani Atish) about the news of their father’s arrest.

Savita is fond of hunting, playing tennis and racing fast cars while Jayant is an amateur film maker. Soon Jayant and his friend (Munchi Thoothi) get involved in the villain’s evil design and manage to film the mask man’s gang readying to blow up a bridge. The masked man dynamites the bridge as he has been contracted to do so by a man who wants to promote his airline business. However, Shyamlal tries to implicates Sunder (Sardar Mansur), son of a railway official, for the crime.

There is also a gangster’s moll, Gulab (Gulshan) who is romantically linked first with Shyamlal and then with Kishore (John Cawas), one of the gang members of the masked man. Both Gulab and Kishore are reformed and they side with Savita and her brother, Jayant in hunting down the masked man.

Sunder has a soft corner for  Savita and rushes to help her in dealing with rail gangs and murders. He and Savita are involved in several chases culminating in a fight scene on top of a speeding train where Savita fights the gang alongside Sundar on her bare hands successfully. At last, the identity of the masked man is revealed. He is none other other than Savita’s uncle Shyamlal. Ultimately, Shyamlal is killed by the police while he is trying to escape in a plane.

This movie had four songs in it. Three of these songs have been covered in the blog in the past. Here are their details:-

Song Title

Post No.

Post Date

Gaawo gaawo ae mere saadhu 6147 29-Jun-12
Bhar bhar ke jaam pila de 10977 26-Mar-15
Karega har ek qadr jaani tumhaari 13032 12-Mar-17

Here is the fourth and final song from the movie to appear in the blog. This song is sung by Meenu Cooper, credited as Meenu the mystic. Lyricist is not known. Music is composed by Master Mohammad.

All the four songs in the movie, including the one under discussion were picturised on the same set. The song is a light hearted song where the artist talks about his experiences of betting on horses in the race course.

I have failed to get many words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Miss Frontier Mail”(1936) joins the list of movies that have all their songs covered in the blog.


Song-Favourite main ghode khela (Miss Frontier Mail)(1936) Singer-Meenu the Mystic, MD-Master Mohammad
Chorus

Lyrics

Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
?? pe jocky jaawe
?? pe jocky ??
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
hahahaha

seep mein moti bhi
meri kismat se niklega koi ??
seep mein moti bhi hai ??
meri kismat se niklega koi ??
sab ko ??? lagaao
??? hi lagaao

arre ?? tak main pahunch jaaunga
?? tak main pahunch jaaunga
joda badal ke
joda badal ke
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
first class se first class tak
ghoda aaya shor
arre ?? se first class tak ghoda aaya shor
jocky ne jab side dabaayi
jocky ne jab side dabaayi
nikla number four
jocky ne jo side dabaayi
nikla number four
jab ?? pe jaa ke dekha
ye kismat ka andher
jab ?? pe jaa ke dekha
ye kismat ka andhera
ghoda mera thha nowhere


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 : 3502 Post No. : 14068

I became aware of a Hindi film ‘called Virginia’ (1940) nearly 2 years back. My first impression was that the film may be based on some Hollywood movie. Google search for details of this film did not yield much as most of the results pertained to a few Hollywood films of the same name in or around that name. The film did not find mention in ‘Filmindia’ magazine pertaining to the years 1939-41. Later on, I did get some details about the film in ‘list of Bollywood movies of 1940’ on Wikipedia which described the film as an ‘action’ film directed by K M Multani with a star cast of Manjula, W M Khan, Rajkumari, Pratap and David. Khan Mastana was the music director.

A couple of days back, I came across a High Court Judgement dated March 25, 1942 concerning K M Multani vs. Paramount Talkies of India. Being a law student myself once upon a time, I am interested in reading the court judgements, especially of the court cases pertaining to per-independence days. In the judgement, I got to know some more details about the film ‘Virginia’ (1940) and some interesting twist.

‘Virginia’ (1940) was made under the banner of A E M Multani Productions. The star cast mentioned in the judgement included Manjula, Pratap, W M Khan, David, Jamila and thousands of others. The film story idea was conceived by K M Multani sometime towards the end of 1939. Shooting of the film commenced in April 1940 at Bharatiya Studio. On May 16, 1940, the title of the film ‘Virginia’ was registered with Sub-Registrar in Bombay (Mumbai). The film was completed in August 1940 and advertisement of the film commenced in a limited way in September 1940. Censor Certificate was obtained for the film in November 1940. The film was released in Bombay on March 16, 1941 in Minerva theatre. The film ran for two weeks. The film was to be released elsewhere in India.

K M Multani, the producer-director had decided to produce this film on a grand scale just to prove a point that Indian film industry can also make spectacular films on the scale of Hollywood. The idea was to get ‘ high-brow westernised Indians who patronised the foreign films exclusively, to see in Indian films something which they would not find in Hollywood films even’. The story revolved around an imaginary war between Greeks and Romans about 4000 BC. In the film, Virginia was the name of the heroine.

It so happened that Paramount Pictures also conceived a film with a similar title ‘Virginia’ (1941) in 1939 and in December 1939, the title of the film was registered in the USA. The shooting of the film commenced more or less at the same time in the USA as that of ‘Virginia’ (1940). The film was released in USA in February 1941 and in Calcutta and Mumbai in May 1941. It was a family drama set against the background of an estate in Virginia, one of the States in the USA. The theme of the film was contemporary.

When the Paramount Pictures’ film was released in Calcutta and Bombay in May 1941, K M Multani filed a suit in a Bombay court to restrain the exhibition of Paramount film ‘Virginia’ (1941) with the same name on the ground that it would result in misleading a section of the cinegoers. He also claimed the damages for loss of box office collections of his film due to ‘passing off’ ‘Virginia’ (1941) as ‘Virginia’ (1940).

The lower court dismissed the suit on the grounds that no one can claim the sole monopoly of the title ‘Virginia’ as it is a geographical name. There was no reason to believe that Paramount’s film could mislead the cinegoers as the film is in English and the Multani’s film is in Hindustani. Also the story of the both the films are quite different. Even the advertisements of both the films make it very clear that both these films are different in terms of the language, the star cast and the themes of the films. The other point was that both the films were conceptualised, shot and released almost contemporaneously without the knowledge of each other. So there was no mala fide intention.

K M Multani filed an appeal in Bombay High Court against the judgement of the lower court. The High Court upheld the judgment of the lower court and dismissed the appeal with costs. Those interested in reading the detailed judgements, both of the lower court and the High Court can read here.

I am not sure whether K M Multani got ‘Virginia’ (1940) released at other places in India. The fact that the film ran only for two weeks in one theatre in Bombay would indicate that the film was a box office failure. I find that, later K M Multani re-joined Minerva Movietone to direct ‘Vasiyat’ (1940) and there after ‘Ujaala’ (1942). His filmy career almost came to an end with his home production ‘Umang’ (1944). I came to know from the former ‘Filmfare’ editor, B K Karanjia’s book ‘Counting My Blessings’ that K M Multani became the founding editor of trade journal ‘ Film Age’ and retired from film industry to become an estate agent.

‘Virginia’ (1940) had 8 songs written by Ehsaan Rizvi which were set to music by Khan Mastana. None of the songs has yet been represented on the Blog. Today, I present the first song from the film ‘diwaani tu kyaa jaane’ to appear on the Blog. The name of the playback singer is not mentioned. There are two other songs in the film which were identified to be that of Miss Iqbal (or Iqbal Bibi) who has a high-pitched voice. As against this, the voice in the song under discussion is a soft one.

Since Manjula (Manju Diwan, wife of Karan Diwan) is in the cast of the film, I checked her voices in the songs from the films ‘Gaali’ (1944) and ‘Chaand’ (1944). I am convinced that the voice in the song under discussion is that of Manjula (Manju). At the time of making of the film, Manjula was 16 years old and the voice sounds like that of a teenager.

A feature of this song is that there is a long prelude music (0:33) followed by a long interlude (0:42) and the end music (0:20). As a result, the lyrics of the song has space in the disc for about 2:00 minutes.


Song-Deewaani tu kya jaane (Virginia)(1940) Singer-Manju Dewan, Lyrics-Ehsaan Rizvi MD-Khan Mastana

Lyrics

deewaani tu kyaa jaane
kaun mere ghar aataa hai
deewaani tu kyaa jaane
kaun mere ghar aataa hai
prem sandesha laata hai
prem sandesha laata hai
mere mann wo bhaata hai
mere mann wo bhaata hai
murjhaa chuki hai jo sakhi
dil ki kali khilegi
murjhaa chuki hai jo sakhi
dil ki kali khilegi
deewaani tu kyaa jaane
kaun mere ghar aataa hai
deewaani tu kyaa jaane
kaun mere ghar aataa hai

main kahoongi apni baat
wo sunenge saari raat
main kahoongi apni baat
wo sunenge saari raat
ab kyun
dil shor machaata hai
ab kyun
dil shor machaata hai


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(© 2008 - 2018) 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 more than nine years. This blog has over 14200 song posts by now.

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

Total number of songs posts discussed

14279

Number of movies covered in the blog

Movies with all their songs covered =1140
Total Number of movies covered =3898

Total visits so far

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