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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 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 : 3497 Post No. : 14055

“Sheesh Mahal”(1950) was produced by Sohrab Modi for Minerva Movietone. The movie had Sohrab Modi, Naseem Bano, Nigar Sultana, Pushpa Hans, Amarnath, Jawahar Kaul, Pran, Mubarak, Leela Mishra in it.

The story of the movie, as discussed by Mr Arunkumar Deshmukh, our beloved inhouse enyclopaedia, is as following:-

Thakur Jaspal Singh ( Sohrab Modi) lives in the prestigious and palatial house called the Sheesh Mahal. He is badly in debt, yet continues to live a lifestyle far over and above his means. His son and two daughters are concerned, and try to stop him from over-spending, but he disregards them. Then one day the inevitable happens, and Jaspal Singh has to leave Sheesh Mahal, which must now be sold by auction to pay off his debts.

Jaspal and his children move into a small room in the nearby slums, where they hope to spend the rest of their lives. Jaspal’s son, Vikram (Jawahar Kaul) finds employment in a mill, but unfortunately meets with an accident, and in order to save his life, the doctors amputate his leg, leaving his unemployed and dependent. Jaspal’s daughter, Ranjana ( Naseem Bano), attempts to secure employment, but proud Jaspal will not hear of this.

Ranjana gets employment, but she does not tell her father about it. Ranjana meets with a young man, Vikram (Amarnath) and both fall in love with each other. When this young man’s father, Durgaprasad ( Mubarak), comes to ask Jaspal for Ranjana’s hand, Jaspal finds out that he is the new owner of Sheesh Mahal, and that Ranjana has been working as a maid there.

Jaspal is furious, and taking his sword, he rushes over to the Sheesh Mahal with a clear intent of killing Ranjana, and anyone else who dares to stop him.

There he encounters Durgaprasad, who opens his eyes by telling him on his face the reality and that he is living in his past, which does not exist anymore. He warns him not to destroy the future and happiness of his children to pamper his false ego. Thakur realises his mistake. he drops his sword, but he too falls suffering from massive heart attack. He breathes his last accepting all his faults, but it is too late.

The movie had nine songs in it. Eight of these songs have been covered in the past. Here are the details of these songs :

Song Title

Post No.

Post Date

Aayi hai deewali 183 27-Oct-08
Jise dhoondhti phirti hai meri nazar 3820 23-Apr-11
Zehar khaanaa magar dil lagaanaa nahin 3829 28-Apr-11
Tum dekh rahe ho ke mite saare sahaare 4005 15-Jun-11
Muqaddar ke haathhon jahaan ghoomtaa hai 4139 6-Jul-11
Aadmi wo hai museebat se pareshaan na ho 6422 12-Aug-12
Ham kheton ke mahaaraaj hamen darr kaahe ka 12791 10-Jan-17
Bhoole zamaane yaad na kar 14044 11-Feb-18

Here is the ninth and final song from “Sheesh Mahal”(1950) to appear in the blog. This song is sung by Pushpa Hans and it is picturised on her as well.

Lyricist is credited as Aaziz. I wonder whether he is a new name or someone who is known to us by some other name. I request our knowledgeable readers to throw light on him.

Music is composed by Vasant Desai.

With this song, “Sheesh Mahal”(1950) joins the list of movies that have all their songs covered in the blog.


Song-Taqdeer banaane waale ne kaisi taqdeer banaayi hai (Sheesh Mahal)(1950) Singer-Pushpa Hans, Lyrics-Aziz, MD-Vasant Desai

Lyrics

taqdeer banaane waale ne
kaisi taqdeer banaayi hai
barbaadi likh di kismat mein
ye apni shaan dikhaayi hai
taqdeer banaane waale ne
kaisi takdeer banaayi hai

aashaaon ki maala toot gayi
ummeed ke moti bikhar gaye
ummeed ke moti bikhar gaye
armaan bhi jal kar khaaq huye
armaan bhi jal kar khaaq huye
ab jaan pe aafat aayi hai
taqdeer banaane waale ne
kaisi taqdeer banaayi hai

ik jhonka hawa ka aaya thha
aaya aur aa kar nikal gaya
aaya aur aa kar nikal gaya
ham thhandi saans bhi le na sake
ham thhandi saans bhi le na sake
har shaakh e chaman murjhaai hai
taqdeer banaane waale ne
kaisi taqdeer banaayi hai
taqdeer banaane waale ne

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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 : 3495 Post No. : 14044

Today (11 february 2018) is the birth anniversary of Thomas Alva Edison (February 11, 1847 – October 18, 1931). People may argue that he has nothing to do with HFM, but I would argue back that there would be no HFM but for Edison. One out of Edison’s countless inventions was the invention of phonograph, which made it possible to record sound. All the HFM music that we are listening to now owe their existence to this paradigm shifting invention in human existence. We have no way of knowing how the great personalities of the past sounded like, but thanks to Edison, we got a device that could record the voices of people for posterity. That way the contemporaries of Edison and those who came later has their lives enriched to a degree that is beyond our imagination.

Of course, motion picture camera and light bulb are also his inventions. One can safely say that the modern life that we take for granted these days owes a lot to the inventions of Edison. All these inventions led to creation of major industries !

Lots and lots of other discoveries and inventions by lots and lots of other people have taken place since then. In the past, there was no way to preserve voice for postrity. Now it can not only be preserved, but now it can be shared with others easily with people that may be living on the other side of the globe, without leaving the comforts of our own homes ! What is more, these recordings can even be edited, enhanced etc. For instance, there are quite a few recordings that are of poor quality. But tchnology is now available that enables us to improve their quality quite dramatically.

It goes without saying that our blog makes use of lots of technologies that Thomas Edison and many others have created over that last 150 years or so.

Take the song under discussion for example. This song is from “Sheesh Mahal”(1950). Sheesh Mahal had nine nine songs in it. Seven songs have been covered in the blog. Out of the remaining two songs, one song is available in good audio quality (even video is available). But there is one song which seems to be missing from the movie and its audio, as available leave much to be desired.

But as noted above, technology comes to the rescue. There are audio softwares available that can help reduce noise and enhance audio quality. I am not much experienced in such matters but still I have been able to reduce the noise in this audio to an extent where the audio quality is bearable. May be with experience, I will become better.

So, on the occasion of Thomas Alva Edison’s 171st birth anniversary, here is this rare song from “Sheesha Mahal”(1950). This song is sung by Pushpa Hans. She had acted in it as well, so assuming that this song was picturised, it was picturised on herself.

Shams Lucknowi is the lyricist. Music is composed by Vasant Desai.

This song becomes the 500th song of 1950 to appear in the blog. That way, 1950 becomes the second year, after 1949, to have 500 songs in the blog. 1959 and 1960 are two years that are waiting in the wings to join this group.


Song-Bhoole zamaane yaad na kar (Sheesh Mahal)(1950) Singer-Pushpa Hans, Lyrics-Shams Lucknowi, MD-Vasant Desai

Lyrics

bhoole zamaane yaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

duniya ki yahi baaten hain
duniya ki yahi baaten hain
din hain to phir kabhi raaten hain
din hain to phir kabhi raaten hain
dil ko tu naashaad na kar
naashaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

zaalimon ki ye basti hai
zaalimon ki ye basti hai
rone pe duniya hansti hai
rone pe duniya hansti hai
aansuon se fariyaad na kar
fariyaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar

ae dost hamen gham sahne de
ae dost hamen gham sahne de
kisi(?) ki nishaani rahne de
kisi(?) ki nishaani rahne de
shaad na kar
barbaad na kar
barbaad na kar
yaad na kar
bhoole zamaane yaad na kar
yaad na kar


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 : 3491 Post No. : 14023

There was a time when the films made in Hindi could be classified easily as A grade, B grade and C grade films. A grade films were those made by big and famous banners with top class actors and leading music directors. B grade films were those made with second rung of actors, director and music directors. C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed story line resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, tribe people, king-queen-wicked wazir and similar stories.

C grade films were always quickies, made on  shoe-string budgets. During the late 1930s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only – including studio rent, sets, artist fees and other expenses. C grade films had a captive audience comprising of factory workers, daily wagers, low income earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses which specialized and thrived on such films – like Paramount Films, Jagriti Films, Mohan Pictures, Wadia Movietone etc. Since studio system was in vogue, the film studios usually had fixed actors and directors in their employment. Music directors were of no consequence, so anybody would do. Well known composers like C Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers fallen on bad days also gave music to such films. C grade films rarely released commercial gramophone records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one finds in such grade C action/stunt films are Nadia, Boman Irani, Sayani, Bilimoria brothers, Cooper sisters, Zohra Khatoon, Ameena Khatoon, Khatoon Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim Bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cawas, Lalita Pawar, Navin Chandra. . . and many more such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained relatively less known. No one knows anything about them. Actors like Baburao Pehelwan, Marutirao Pehelwan (he was the hero in the first Gujarati talkie film ‘Narsi Mehta’), Chandra Rao, Sayani etc. were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended only with mere names !

Today, I am writing about one such action film hero of 7 silent and 12 talkie films of the 1930s and 40s, whom I stumbled upon recently. His name is so obscure and unknown that even I was stunned, but he has acted with heroines like Rajkumari (Dubey), Sarojini, Vatsala Kumthekar, Gauhar Karnataki and had acted in films made by well known production houses like Paramount and Mohan Pictures.

On 2nd January 2015, I got a message on my Facebook page from an unknown person called ‘Tejas Vazare’. Since I try to avoid unknown people as my Fb friends, I ignored that message. Three years later, this January, I saw the message again. This time it attracted my attention by what he wrote. He mentioned that his grandfather was a Hindi film hero of the 1930s and 40s. Out of curiosity, I wrote to him asking him to sent information about himself and his grandfather. He informed me that Master Shankar Rao Vazare was a hero in few films in 1930s and 40s. This was a name new to me. He also sent me film posters, photos, newspaper articles etc. about him. On reading all this, I strongly felt that here was a man who needs to be brought before today’s world. We exchanged lot many mails. I checked all film names with my books and prepared a list of films having evidence.

Tejas and me have planned to meet in March, in Bombay. May be his father (son of Shankar Rao) and aunt (daughter of Shankar Rao) will accompany him. That time I will complete my interview with them and prepare a detailed article with photos, posters etc for publishing on line. But till then, I wish to present his short biography on this blog first. This blog has the right to have such things first here before anywhere else. I owe it this much. So, here we go.

Master Shankar Rao Vazare was born on 1-1-1916 in the Bhabhanagar area of Nashik (Maharashtra), in a peasant family. His father Trimbak Rao Vazare was the Patil of Nashik. (Patil used to be the overall head of the village / town) and his uncle was the chairman of the Municipality. Shankar Rao was very keen on films. Dadasaheb Phalke was also from Nashik. Taking inspiration from him, Shankar Rao developed attraction for films. He used to see English films in the tent theatre of Nashik.

He reached Bombay. He was very handsome, tall and had a good physique. He got roles in the silent films made by Mahavir Photoplays. From 1929 to 1931, he worked in 7 silent films. There could be more also, but initially he was uncredited. Problem with the silent films was that they generally had 2 or 3 titles and alias names. Additionally as per the local language the title used to change also. So, it is very difficult to trace silent films by titles in the various lists published.

The list of his silent films that has been identified so far is –  ‘Father’s Love’ (1929), ‘Ideal Woman’ (1930), ‘Prince Of The People’ (1930), ‘Avarice’ (1930), ‘Niradhar Niru’ (1931), ‘Jungle Ka Jawan’ (1931) and ‘Saroj Kumari’ (1931).

His first talkie film was ‘Toofani Tamancha’ aka ‘Hands Up’ (1935), made by Paramount Film company. In this film, his heroine was Gul Bano. He acted in 7 films made by Paramount Film Co., 3 by India Liberty Co., and 1 each made by Mohan Pictures and Allied Films. Here is the list of his talkie films,

 

Film Title Year Production Company Director

Heroine / Co worker

1. Toofani Tamancha
aka Hands Up
1935 Paramount RN Vaidya Gul Bano / Miss Pukhraj
2. Farz e Adaa
aka Loyalty
1936 Indian Liberty AM Khan Shehzadi (sister of Zubeida (of Alam Aara)) / Vidya
3. Bansari Balaa
aka Fairy Of The Flute
1936 Paramount AM Khan Gauhar Karnataki / Kamla
4. Burkhawali
aka Bombay Mail
1936 Indian Liberty (Unknown) Gauhar Karnataki / Miss Pearl
5. Madhraat Ka Mehmaan
aka Midnight Man
1938 Indian Liberty Kikubhai Desai Miss Moti / Miss Pokhraj
6. Jungle Ka Jawan 1938 Mohan Pictures Chunilal Parekh Rajkumari / Kamla
7. Madhu Bansari 1939 Paramount Nanubhai Vakil Sarojini (sister of Indurani, mother of Azra, wife of Nanubhai Vakil) / Vatsala Kumthekar
8 Son of Alladin
aka Alladin ka Beta
1939 Paramount Nanubhai Vakil Sarojini / Ranibala
9. Reshami Saari 1939 Paramount GP Pawar (husband of Lalita Pawar) Kanta Kumari / Miss Moti
10. Aflatoon Aurat
aka Veerangana
aka Amazon
1940 Paramount Kikubhai Desai Miss Moti / Kanta Kumari
11. Mere Raja 1941 Paramount TS Mani Miss Moti / Kanta Kumari
12. Jungle Ki Pukar
aka Call Of The Jungle
1946 Allied Films Ramji Arya Ameena Khatoon / Usha

After 1941, he found it difficult to get films. He returned to his hometown Nashik to look after his family, farming and also started a business dealing in cucles. In 1946, he got his last film and after that, he again returned to Nashik. Master Shankar Rao Vazare died on 21-1-1949, at a very young age of only 33 years.

Shankar Rao Vazare was the favourite hero of director Kikubhai Desai (father of Manmohan Desai) for silent and talkie films. Fearless Nadia, Ashok Kumar and Kishore Kumar were his fans. Ashok Kumar used to like seeing his films. In one interview, Kishore Kumar has said – “Despite being a hero, my brother Ashok Kumar never did a fight scene on the screen. I considered Master Shankar Vazare a better hero than him ! ”

His hometown Nashik was very proud of him. During the centenary celebrations of Nashik Municipality, they published his photo and a short Biography in their souvenir. There were articles and photos published in local newspapers. His wife expired about 4 years ago and his sons continue to live in Nashik. They are proud of him.

To get a song from his films was a great problem since nothing is available on YouTube. I sent out request letters to some famous record collectors and our own Sudhir ji. All collectors replied negatively, but only Sudhir ji had just one song from the film ‘Madhu Bansari’ (1939). He sent me the song promptly. Thank you Sudhir ji for your kind help. On finding this song, Tejas Vazare and his family were overjoyed and have thanked our Sudhir ji wholeheartedly.

This song is sung by Vatsala Kumthekar, under the baton of Damodar Sharma. The film was directed by Nanubhai Vakil. The cast of the film was Master Vazare, Sarojini (sister of actress Indurani, mother of actress Azra and wife of Nanubhai Vakil ), Vatsala Kumthekar, Ganpat, Basheer, Ali etc. There were 14 songs in the film.

Acknowledgements :

–  Inputs from Tejas Vazare (grandson of Master Shankar Rao Vazare)
–  Article in newspaper ‘Lokmat’
–  Centenary book of Nashik Municipality
–  Advertisements in Times of India and Film India magazine
–  HFGK compiled by Shri Harmandir Singh ‘Hamraaz’
–  ‘Silent Filmography’ by Dr RK Verma
–  Sudhir ji
–  And my notes 🙂


Song – Rang Rasiya Aao Re (Madhu Bansari) (1939) Singer – Vatsala Kumethkar, Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re

lagan lagi tumhre sang pyaa..aa..aa..re
aaa aaa aaaaa aaaaa
aaa aaaa aaaa aaaaa
aaaaaa aaaaaa aaaa aaaa
aaaa aaaa
aaaaaa aaaaaaaa
lagan lagi tumhre sang pyaa..aa..aa..re..e..e
oo oo aa..aa..aa
lagan lagi tumhre sang pyaare
lagan lagi tumhre sang pyaa..aare..e..e
oo oo oo
aa aa aaaaaaa aaaaa
aaa aaa aaaa aaa aa
lagan lagi tumhre sang pyaare
mann mein bas ke tum kahaan sidhaare
mann mein bas ke tum kahaan sidhaare
aawo
aawo preetam pyaare
aawo
aawo preetam pyaare

rang rasiya
rang rasiya aawo re
rang rasiya aawo re
jeevan ki prem jyot kojagaawo
rang rasiya. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे

लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे
आss आss आssss आssss
आs आss आss आssss
आssssss आsssss आsss आsss
आsss आsss
आsssss आsssssssss
लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे॰॰ए॰॰ए
ओ ओ आ॰॰आ॰॰आ
लगन लगी तुम्हरे संग प्यारे
लगन लगी तुम्हरे संग प्या॰॰आरे॰॰ए॰॰ए
ओ ओ ओ
आ आ आssssss आssss
आs आs आsss आss आs
लगन लगी तुम्हरे संग प्यारे
मन में बस के तुम कहाँ सिधारे
मन में बस के तुम कहाँ सिधारे
आवो
आवो प्रीतम प्यारे
आवो
आवो प्रीतम प्यारे

रंग रसिया
रंग रसिया आवो रे
रंग रसिया आवो रे
जीवन की प्रेम ज्योत को जगावों
रंग रसिया॰ ॰ ॰


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 : 3487 Post No. : 14005

‘Pardesi Mehmaan’ (1948) was directed by Aspi for Ranjit Movietone, Bombay. The move had Kamal Kapoor, Husn Banu, Rajrani, Ghulam Mohammed, Sheikh Hasan, Abdul Rehman, Afghan Sandow, Azim, Bipin Gupta, Kaizer etc in it.

The movie had 11 songs in it. Three of these songs have been covered in the past.

Here is the fourth song from ‘Pardesi Mehmaan’ (1948) to appear in the blog. The song is sung by Husn Bano. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of the song is available. Seeing that Husn Bano’s name is there in the cast, it can be assumed that the song is picturised on herself.


Song-Haay rasiya bada naadaan (Pardesi Mehmaan)(1948) Singer-Husn Bano, Lyrics-Pt Indra, MD-Hansraj Bahl

Lyrics

haay ae
rasiya bada naadaan
raat bhar chaand nihaare re
raat bhar chaand nihaare re
haay ae
jal jaaye meri jaan
raat bhar dhoom machaawe re
raat bhar dhoom machaawe re
haay
rasiya bada naadaan
raat bhar chaand nihaare re
raat bhar chaand nihaare re

main paayal shor sunaaun
main paayal shor sunaaun
wo sune kook koyal ki
bedardi mud mud dekhe
bedardi mud mud dekhe
na jaane baat wo dil ki
mere ae
sisak rahe armaan
haay haay piya pukaare re
haay haay piya pukaare re
haay ae
rasiya bada naadaan
raat bhar chaand nihaare re
raat bhar chaand nihaare re

kyun dil mera dhadak raha hai
kyun dil mera dhadak raha hai
kya rasiya tadap raha hai
kyun gin rahin pyaasi aankhiyaan
kyun gin rahin pyaasi aankhiyaan
haay piya milan ki ghadiyaan
haay ae
dil mein uthhe toofaan
lage kab naav kinaare re
lage kab naav kinaare re
haay ae
rasiya bada naadaan
raat bhar chaand nihaare re
raat bhar chaand nihaare re
haay ae
jal jaaye meri jaan
raat bhar dhoom machaawe re
raat bhar dhoom machaawe re
raat bhar dhoom machaawe re
raat bhar dhoom machaawe re

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

हाए॰॰ए
रसिया बड़ा नादान
रात भर चाँद निहारे रे
रात भर चाँद निहारे रे
हाए॰॰ए
जल जाये मेरी जान
रात भर धूम मचावे रे
रात भर धूम मचावे रे
हाए
रसिया बड़ा नादान
रात भर चाँद निहारे रे
रात भर चाँद निहारे रे

मैं पायल शोर सुनाऊँ
मैं पायल शोर सुनाऊँ
वो सुने कूक कोयल की
बेदर्दी मुड़ मुड़ देखे
बेदर्दी मुड़ मुड़ देखे
ना जाने बात वो दिल की
मेरे॰॰ए
सिसक रहे अरमान
हाय हाय पिया पुकारे रे
हाय हाय पिया पुकारे रे
हाय॰॰ए
रसिया बड़ा नादान
रात भर चाँद निहारे रे
रात भर चाँद निहारे रे

क्यों दिल मेरा धड़क रहा है
क्यों दिल मेरा धड़क रहा है
क्या रसिया तड़प रहा है
क्यों गिन रहीं प्यासी अखियाँ
क्यों गिन रहीं प्यासी अखियाँ
हाय पिया मिलन की घड़ियाँ
हाय॰॰ए
दिल में उठे तूफान
लगे कब नाव किनारे रे
लगे कब नाव किनारे रे
हाय॰॰ए
रसिया बड़ा नादान
रात भर चाँद निहारे रे
रात भर चाँद निहारे रे
हाए॰॰ए
जल जाये मेरी जान
रात भर धूम मचावे रे
रात भर धूम मचावे रे
रात भर धूम मचावे रे
रात भर धूम मचावे रे


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.

This article is the 14000th song post in the blog.

Blog Day : 3485 Post No. : 14000

Aah, the magical triple zero. There is always quite a long wait to get to a milestone that carries all zeroes in the last three digits. Welcome all, to the fourteenth such milestone. Yes, I hear you say it – it IS getting to be a staggering collection, this ASAD blog. You can pick your time preference, we are on to the

  • 3, 485th day, or
  • at 497 weeks and 6 days, or
  • 114 months and 14 days, or
  • 9 Years, 6 Months and 14 Days

of the continued proliferation of this blog.

Given where we are today, and from when we started, the average posting rate has been a tad over 4 songs a day, 4.0172 to be precise. Or to put it another way, if we were exactly at 4 songs a day, then today we would have been at 13,940, requiring 15 more days to hit the 14K milestone. So we are running marginally faster than 4 songs a day. And today morning, I was just wondering, maybe I should suggest to Atul ji, and maybe we should name this blog as AFSAD, instead of ASAD. OK yes, you guessed it right – Atul-Four-Songs-A-Day. 😀 😀

I am once again reminded of “Gaata Jaaye Banjaara. . .”; the operative phrase here being “Gaata Jaaye” – continues to sing, continuously sings, does not stop singing. . . whichever way you want to put it. Ah yes, continues to sing, and never repeats. Now that has been the amazing wonder sans pareil. If anyone else, any reader has come across at such a consistently prolific web destination on the internet, I would like to know about it. The quality, the content, the sheer volume, the authenticity et al – it is no longer just a matter of curiosity for the web surfers. This is seriously serious stuff, that does not just raise eyebrows in remark-ability, but also in invidious envy. ASAD is the Gold Standard of Hindi film music on the internet. And then some.

As I checked the visitors ticker just now, we just rolled over the count at 10,054,000th visitor today. The average works out to be close to 2,900 visitors per day – wow. इंटरनेट है तो चल जाता है, इतने लोग रोज़ गाना सुनने के लिए घर आने लगें तो॰ ॰ ॰ 😀 😀

And so, a very special milestone, just the fourteenth one over all these 9+ years. And just to see where we have been at the time these 13 previous milestones were breached, here is the list to go with this analysis.

 

Post No. Song Title Film Name Year Post Date D1 D2
1 Miley Na Phool To Kaanton Se Dosti Kar Li Anokhi Raat 1968 19-Jul-08 1 1
1000 Piya Hum Saat Mulk Ka Paani Lootmaar 1980 30-Mar-09 255 255
2000 Dhakdhak Karti Chali Jeewan Ki Rail Re Dilruba 1950 27-Sep-09 182 436
3000 Maa Mujhe Apne Aanchal Mein Chhupaa Le Chhota Bhai 1966 20-Sep-10 359 794
4000 Kyaa Se Kyaa Ho Gayaa Bewafaa Tere Pyaar Mein Guide 1965 13-Jun-11 267 1060
5000 Hamen To Loot Liyaa Mil Ke Husn Waalon Ne Al Hi Laal 1958 13-Nov-11 154 1213
6000 Geet Kitne Gaa Chuki Hoon NFS – Asha Bhosle 1960s 23-May-12 193 1405
7000 Falak Se Utre Zameen Pe Taare NFS – Mohammed Rafi 1960s 13-Nov-12 175 1579
8000 Beautiful Baby Of Bombay Ek Phool Chaar Kaante 1960 28-Apr-13 167 1745
9000 Ankhiyan Sang Ankhiyaan Laagi Aaj Badaa Aadmi 1961 13-Nov-13 200 1944
10000 Phul Rahin Belariyaan Dolen Trapped 1931 20-Jul-14 250 2193
11000 Kaam Ki Dhun Mein Hain Rawaan Gyaarah Hazaar Ladkiyaan 1962 31-Mar-15 255 2447
12000 Door Desh Se Aane Waale. . . Piya Milenge Gaja Bhaau (Marathi) 1943 20-Apr-16 387 2833
13000 Dil Tumse Lagaaya Kyun Hamne Captain Azaad 1964 4-Mar-17 319 3151
14000 Khayaam Hai Allah Waala Omar Khayyaam 1946 1-Feb-18 335 3485

The above table gives the progression of the ‘K’ milestones, as they have occurred during the journey of our musical bandwagon. The first five columns in this table are self explanatory. The last two columns are titled D1 and D2 (for lack of print space 🙂 ). D1 is the difference of no. of days between the two subsequent ‘K’ milestones. And D2 is the number of days after which we hit a ‘K’ milestone, calculated from the Day-1 i.e. 19th July, 2008. The data contained in this table lends itself to many interesting analyses and observations.

  • The shortest ‘K’ journey was from 4K to 5K – 154 days.
  • The longest ‘K’ journey was from 11K to 12K – 387 days.
  • The average journey from one ‘K’ milestone to the next is 250 days, or just a little over 8 months.
  • Considering a gap of 5000 songs, the fastest run has been from 5K to 10K – only 980 days, with an average of 196 days per K milestone.
    . . it seems that from Nov 2011 to Jul 2014, the blog team had a lot of time on hand 😀 😀
  • Our pace beyond 10K has slowed down considerably, and for good reasons – our journey from 5K to 14K has consumed 1292 days already.

I am sure the regulars and readers will notice more interesting details in this data. I would encourage all to please share more interesting analyses of the above data.

Now a word about these posts themselves.

The 1K post

A very interesting choice that Atul ji made – to bring on a good song, and a rare song, not available till then. The film – ‘Lootmaar’. The posting performance – right about at 255 days, setting the average pace that apparently has been sustained so far. A brief quote from his write up :-

[…] I take this opportunity to thank all my readers whose encouragement (visits, comments etc) have made this blog an important blog for those who want to savour the best songs that Bollywood music world has to offer. I hope that this blog will go from strength to strength and I will be able to add many more thousands of songs to this blog in the times to come.

He did write that he expects the blog to go from “strength to strength” and that he would “. . .add many more thousands of songs […] in the times to come”. So this is one question I would like Atul ji to respond to specifically – was his expectations that we shall reach, where we have reached today, and still going strong??

The 2K post

Atul ji made a very interesting and a very profound start to this post – “Bollywood movies and Indian Railways are two of the major unifying factors for this vast nation of India.” The song is a ‘Rail’ song. Then he goes on to say that he himself can barely believe – to quote – “Yes, believe it or not, this song is the 2000th song of this blog. 2000 songs in 14 months is a barely believable feat even for myself.” And then he closes it requesting for blessings from readers and contributors, and with the hope that the blog continues to go from “strength to strength”.

The 3K post

This post is by Raja ji. And we saw two ‘thousand’ celebrations combined for the first time. It was 3000th song for the blog and it was 1000th song of Lata Mangeshkar. Raja ji opens this post with

“[…]today we mark the 3000th song on this blog. Yes, it is mind-b(l)ogg(l)ing, considering this blog is hardly two years old. That is an average of 4-5 songs every day! That’s an amazing run-rate, especially if you consider how much effort goes into every single song here.”

Yes – ‘bloggling’ – one of the very first new words coined by the team, and contributed to the international effort to enrich the Oxford English Dictionary. 🙂 And then, follows it up with a very interesting and detailed examination of the song itself.
[Ed Note: we have other interesting coinage – gangout, yippeeable, etc. 🙂 ]

The 4K post

The burden of writing this post once again fell on to Raja ji. And this time around, we had a combined ‘thousand’ celebration – the blog milestone plus the 1000th song for Rafi Sb. Raja ji called it the ‘double mega’ celebration. The post, written with apprehension, as per Raja ji himself, is a very interesting read about Rafi Sb. His passion for Rafi Sb’s voice and his singing, and his personal experiences with his songs, clearly shines through the write up.

The 5K post

So far, the ‘K’ milestones were important, but nonetheless, were kind of part of the ongoing journey. By the time we started to feel the proximity of the 5K milestone, things had gotten much warmer. For one, the group of regulars had become a sizeable and a very stable team. And approaching 5K became a beacon milestone that Atul ji started planning well in advance. And what became manifest is probably the longest write up as yet. And that – because three people collaborated to do the write up. One part is penned by Raja ji, writing about the blog history, as he has seen it from day 1. The second part is written by yours truly, and this piece contains a detailed bio sketch and career discussion of the music director Bulo C Rani. The third part is written by Atul ji, in which he talks about the batting line up – a blazing opening stand, a solid middle order, and then a tailender scoring “some runs”. 🙂

The celebration was heightened by the choice of the song – one of the most iconic qawwaali in the history of Hindi film music. Atul ji pointed out that the blog visitor ticker had then recently turned over the 2 million mark; that the blog was being ranked 3rd and 4th in the Google page rankings; and that the daily visitor hits had gone up significantly – almost 7,000 visitors per day sustained for a good period of time. The celebration and the echoes of it in the comments area were a fitting reverberation of a 5K milestone.

An interesting insight that was provided by Atul ji – at the 4700th milestone, he had kind of made a decision to get this qawwaali as the 5K milestone song, along with the 100th song for Bulo C Rani. The problem however was that Bulo C was at 20 songs when the blog touched 4700. As per Atul ji, it was a concentrated and focused effort that brought 79 more Bulo C Rani songs to the blog within the next 300 posts. 🙂

The 6K post

On to the 6th celebration of thousand quotas, we again combined a double mega milestone – 6K for the blog and the thousandth song for Asha Bhosle. The post, written by yours truly, was all about Asha Bhosle, her career, her singing, her accomplishments and honors in the arena of Hindi film music. The journey of the bandwagon was also covered, with the acknowledgement that the visitor ticker had slid past the 3 million mark around the time the 5900th post came up. The song picked for this occasion is a non-film song – a fantastic favorite of all Asha Bhosle fans. And we have a very interesting comment from Raja ji – once again equating to the cricketing world, he likened the pace on the blog with a T20 match. 😀 😀

The 7K post

The occasion was the Diwali celebrations of 2012. The double celebration was getting the 1700th song of Rafi Sb on board. The post came about when the blog was just a few days short of breaching the 4 million visitor’s milestone. And quite specifically I had been saving an fabulous non film song, and a very rare one at that – Rafi Sb’s voice and the song about Diwali.

So the special post about Rafi Sb, the Diwali celebration and the 7K milestone. I would like to quote myself, for the fun of the Magic Box –

“Be that this blog is a Wonderful Bag of Magic. And that makes Atul ji, the Magician. Just close your eyes and imagine – Atulji, wearing a flowing robe with sparkling stars stitched on it, wearing a magicians hat, with a wand in hand. And every time he waves his wand (or clicks the mouse 🙂 ), this Wonderful Bag of Magic is richer with a few more flavors of life. Bringing joy to the lovers of music in all parts of the world.”

The 8K post

The song that I picked for this post is really very very special – the ‘rockingest’ song in the Hindi film history. The discussion included topics such as having viewed this film on Doordarshan as a child, and the ensuing discussion amongst school friends the next day. And that the film had completed its tally of all songs on the blog. The Yippeee terminology had not yet been invented, and we just completed the song list for the film.

A notable thing about this song and the write up was probably the first discussion about the variations in the 78 rpm record and the sound track versions of the song. And quite likely also the first time that both versions of the song were included in the post and the lyrics.

The 9K post

As I was trying to decipher the concept of ‘nine thousand’ itself, I did find something very interesting – a definition of 9000 from the world of anime literature. I include a brief quote from my own write up, telling about what I found out about this multi mega number.

“As Goku powers up in rage, Vegeta senses an explosive increase in his power level and yells: “It’s over nine thousand!”. The phrase immediately caught on and continued to become popular, and the number 9000 soon became adapted as a slang term to describe something or someone of impressive strength.

That is what this blog is now becoming – a thing of impressive size and collection, that is unmatched anywhere on the internet. And by tomorrow, when the next post is uploaded, we can all claim our blog to be “over 9000” – a blog size that cannot be beaten or bettered.”

But the other very interesting thing that is attached to this 9K milestone – in the preceding 2 to 3 weeks the posting activity had gone up significantly, touching 8, 9 or even 10 posts per day. And the reason for the activity was revealed in the write up. Atul ji had observed that the 5K milestone had fallen on the 13th November, and so had the 7K milestone. So in his effort to ensure that the 9K also made it on the same day of the year. We were posting feverishly to get the number on the date. And we did. 🙂

And the musical milestone that was combined was the 2100th song of Rafi Sb. And the song selected for this milestone is really very very special song.

The 10K post

I do not need to reminiscence the circumstances and the content of this post. The event was remarkable just in the fact that almost the entire bandwagon was connected on email and text message, as we waited out the last few hours waiting for the dime to drop. This particular celebration had a massive and an impressive build up. We planned it such that many regular contributors prepared a special post about another member of the bandwagon. And we kind of created a record – the entire set of posts related to the 10K celebrations numbers 63 – wow, that is massive.

The build up was of course very invigorating, and the climax was meant to be a very very special surprise, which was not revealed till the very end of the posting process. In a manner of speaking, the blog changed the history of Hindi film music, by brining on board a song from a film from 1931. Till that time, the acknowledged fact was that the earliest recorded film songs came from 1932. It was just like re-writing the history.

The date for this event fell on 20th July, and Atul ji explained in his part of the writeup on why we missed the 19th July target, which would have coincided with the birth date of the blog.

I quote from Atul ji’s part of the write up

“What had started with the aim of being just another blog has become one of the shining examples of the power of online collaborations which had led to the creation of an amazing collection of authentic information on the topic of HFM.”

And more

“The mark of 10,000 posts is a landmark that takes us to the five figure mark. This figure is a mindboggling figure. I recall that Raja had came to meet me in 2010. The blog then had 4000 songs in it and I has told Raja that I had about 6000 songs with me in all. Both of us had considered that figure to be an enormous figure. And now we are talking of 10,000th post. 🙂 And now we find that we still have lots of songs that have not yet been covered in the blog !”

And I had added my bit as –

“[…] having cracked the 10K target, then the 15K and 20K are going to be relatively minor in comparison, and the next BIG ONE (as they say in surfing) is now going to 25K. Ah well, we are all going to be gainfully occupied for many many years to come. Now that is a BIG thought.”

The 11K post

Just the one case in the entire history of Hindi film music, did we have this solitary opportunity to have a song that exactly was the post number itself. The regulars will know what I am talking about – “Gyarah Hazaar Ladkiyaan”. This song is so tailor made and so one of its kind that it is just once in a lifetime opportunity. And as I mentioned in the write up, Atul ji and I had been saving it for centuries – I mean blog centuries. The write up was a rambling piece about anything related to the number 11, but then I did get round to the song at the end. 🙂  And yes, we did get to have an interesting input from dear Arun ji about the title of the film and the song. Check it out if you missed it earlier.

The 12K post

This was a post that was delayed by an unprecedented three days. I had intiated the post with the comment that the “counter has been stuck at double one triple nine, for three days now. That, I am sure, will have beaten all the records in the books.”

Yet once again, the blog made a significant contribution to writing the history of Hindi film music. There had been many occasions when an animated discussion had happened on ‘Lata Mangeshkar’s first song’. A lot of research and analysis had been done, and the answers have been structured in a few different ways. In this post, we brought up as a first, the first Hindi song of Lata ji, sung in a Marathi film. Once again, a discovery of phenomenal proportions, accompanied by the requisite analysis of all available information, this post yet once again turned out to be a very special post.

The 13K post

Atul ji stepped in to write this 13th episode in the ‘K’ series of our blog. He presented an analysis about the strike rate of each of the 1K interregnums and then presented a very rare song from an obscure film from 1960s. The reason he chose this song was that all artists associated with the song seemed to have worked only in this film, making it a rarest of rare commodities in the annals of Hindi film music.

And that brings us to the 14K milestone.

The special anniversary we wanted to connect it to, has actually passed by yesterday. On account of certain exigencies of work and personal situations, both Atul ji and I were not able to complete all the requirements to have the 14K milestone yesterday i.e. 31st January.

The special post we have today is for the legendary singer of the golden era of Hindi film music. Yes, it is Suraiya, whose passing away anniversary was yesterday.

For this occasion, I have dug out another music piece which can be classified as rarest of the rare and heretofore considered lost. Regular folks with easily recall the 1946 film ‘Omar Khayyaam’. The film has seven songs listed in the Geet Kosh. Three of these songs are sung by Saigal Sb, and the same have already been showcased on the blog. The remaining four songs are all in the voice of Suraiya, and sadly enough all of them are unavailable anywhere as yet.

But that situation changed a while back. One of my collector friends shared with me one of these four songs, in audio. And I have been planning a write up, waiting for such one momentous occasion to bring it to the attention of the music lovers. I communicated with Atul ji and we decided that we shall bring it up as the song for the 14K milestone. This discovery is of momentous proportions, meriting a milestone of this size. And so we were working towards getting this posted on 31st January. But circumstances intervened and now we are posting it a day late.

In any case, an additional windfall that happened in the interim is that another friend sent me another link from the YouTube. As I checked it out, it almost was heartbeat stopping experience. The song that I was planning to post as audio, the video of the same has also been uploaded online. This discovery has significant implications, the most important being the fact that the film ‘Omar Khayyaam’ is available in the public domain and needs to be traced.

The real beauty of the find is to see Suraiya perform this song  -“Khayyaam Hai Allah Waala”. It is a dance song in the presence of an audience that does not seem to be a king’s court. However, the dancer, Suraiya and the accompanying ladies appears to be dressed up for a royal performance. The video clip is a little less than one and a half minutes. The audio clip that I have seems to be prepared from the same video clip.

The massive milestone today also merits congratulations all around. Of course, Atul ji’s indefatigable devotion to this task, and the commendable team work of the group of contributors are the bulwark strength of this blog and its exemplary achievements across the board.

And now, it is just another 1000 posts to go for the major 15K milestone. That is very definitely reachable now. 🙂

 

Song – Khayaam Hai Allah Waala  (Omar Khayaam) (1946) Singer – Suraiya, Lyrics – Dr Safdar Aah Sitapuri, MD – Lal Mohammed

Lyrics

khayaam hai allah waala
khayaam hai allah waala
matwaala allah hoo
jeena
aur jee kar peena..aa..aa
jeena
aur jee kar peena..aa..aa
peena
aur pee kar jeena
peena
aur pee kar jeena

maikhaana allah hoo ka
maikhaana allah hoo ka
aur pyaala allah hoo
allah hoo
allah hoo
allah hoo

ye mast hawaaein aayin
ye mast hawaaein aayin
rehmat ki ghataayen chhaain
rehmat ki ghataayen chhaain
mai ishq e khuda ki lekar
mai ishq e khuda ki lekar
jannat se hooren aayin
jannat se hooren aayin
gardish mein aa kar boley
gardish mein aa kar boley
khud pyaala allaah hoo
allah hoo
allah hoo
allah hoo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खैयाम है अल्लाह वाला
खैयाम है अल्लाह वाला
मतवाला अल्लाह हू
जीना
और जी कर पीना॰॰आ॰॰आ
जीना
और जी कर पीना॰॰आ॰॰आ
पीना
और पी कर जीना
पीना
और पी कर जीना

मैखाना अल्लाह हू का
मैखाना अल्लाह हू का
और प्याला अल्लाह हू
अल्लाह हू
अल्लाह हू
अल्लाह हू

ये मस्त हवाएँ आईं
ये मस्त हवाएँ आईं
रहमत की घटाएँ छाईं
रहमत की घटाएँ छाईं
मय इश्क़ ए खुदा की लेकर
मय इश्क़ ए खुदा की लेकर
जन्नत से हूरें आईं
जन्नत से हूरें आईं
गर्दिश में आ कर बोले
गर्दिश में आ कर बोले
खुद प्याला अल्लाह हू
अल्लाह हू
अल्लाह हू
अल्लाह हू


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 : 3484 Post No. : 13994

Today’s song is from film Azaadi-35.

It is always a pleasure for me to write on films and songs of the 1930s and the 1940s. It is a different world altogether and traversing on the path of these decades is easy, for there is no crowd here. Not many writers are interested in discussing songs from the 1930s in details.

There are several reasons for this. First and foremost is lack of information. Considering what our love for recording history of old films and the artistes is, one has to be lucky to a great extent to have enough material to write about, in the first place. Secondly, most artistes of the 1930s and early 1940s were the lot carried forward or brought forward from the Silent Era. By the end of the first 10 years, most of these brought forward artistes went into oblivion and new force of artistes entered the film industry.

Most artistes of 1930s seem to be faceless, with only names to go by. No details, no biographies and no other informations are available for them. A select few, however, were well known with their details available, as they continued deep into the 1940s and some even into the 1950s. No information is available for most leading artistes and character artistes of 1930s. For example, artistes like, S.M.Hadi, Miss Khatoon, Miss Ameena, Kashinath, Tara, Armelin, Nayampally, Rampyari, Master Mohd., Shanta kumari, Shantarin, Vimla, Shareefa, Prabha shankar, Zebunnisa, Sultana, Shehzadi, Zillobai, Mushtari,Khalil, Jamshed ji, Chandrarao, Iqbal, Miss Kamla, Sorabji kerawala, Laxmi, Anwari, Shankarrao Bhosle, Shankarrao Vazare, Nimbalkar, Miss Leela, Madhav Kale, Jal Merchant, Sayani, Keki Adjania, Bhagwandas, Panna, Alaknanda, Hafiz, Sunalini,Sushila, Vasantrao Pehelwan, Marutirao Pehelwan, Zohra, M.Ismail…….the list is too long.

There are hundreds of such names about whom absolutely no information is available. This makes writing on old films/artistes a huge problem for students of film history ,like me. We have to be constantly on our toes to look for such information. Sometimes, Lady Luck blesses us and we come across heaps of information about an obscure name and our joy knows no bounds.

Something like this happened with me sometime back. I stumbled on an article in ” The Tribune” dated 26-5-2001, titled ” The Himachali who shone in Bollywood “, written by Ms. Anjali Mahajan. As soon as I started reading it, I realised that I was onto a discovery ! The article was based on an interview of Ms. Bimla, daughter of yesteryear actor-Hero Vijay kumar Pandit-whose song we are going to discuss today. I was not only overjoyed, but also I thanked my good luck. So, here is the information I gathered from this article as well as some other sources and HFGK of course.

As we all know, our Hindi film industry is full of Same Name Confusions. I know at least two more Vijay Kumars who acted in Hindi films. One of them was Johnny Walker’s brother, who was Hero in few films like Wanted-61 etc.

Vijay Kumar Pandit was born on 10-3-1905 in Shageen village in Shimla. His father, Kanshiram, was a rich and prominent person in the village. Brilliant Vijay Kumar matriculated from Shimla and did F.A. from Mahindra College, Patiala. While in school and college he was doing stage dramas. He did a role in Agha Hashra Kashmiri’s play “Asir-E-Hind”. He graduated from S.D.College, Lahore in 1930 and passed his M.A. M.O.L. from Lahore only in 1932.

Handsome Vijay Kumar joined as A.D.C. to Maharaja of Patiala. His love for acting continued and in one drama, even the Music Director/Singer S.D.Batish acted with him. Based on his recommendation, Vijay Kumar got Hero’s role in Premier Film Co.’s silent film,”Dukhtar-E-Zamana”. At Patiala, Vijay Kumar got married to Miss Tara, who was the sister-in-law (saali) of the maharaja of Patiala.

Then he moved to Bombay to enter films. His first film was Shakti Cinetone’s “Sajeev Moorti”-35, in which he was paired with Ashalata ( Mehrunnisa Bhagat-first wife of Anil Biswas). His wife Tara also acted in this film for the only time in her life. Then came film ‘Azaadi-35’ from same company. In this film he not only acted, he also wrote the script and gave Music. His next film was Mohan Bhavnani’s comedy film, “Shaadi ki Raat”-35, in which he was paired with actress Shareefa.

After this he moved to Calcutta, on the invitation of East India Film Co. for their film, “Sunehra Sansar”-36. Along with him Rampyari, Kamla Jharia and Menaka also acted i it. For this film, he wrote all its Lyrics also. Impressed with his performance, New Theatres called him for film, “Abhagin”-38, opposite Molina Devi and menaka.

Vijay Kumar returned to Bombay and acted in his last film,”Asha”-38, made by Film corporation of India. His Heroine was Kamlesh Kumari. After this film, he got intimation from Shimla about the illness of his father and he returned to Shimla to look after him. After doing 6 films as a Hero, due to the protracted illness of his father, Vijay Kumar could not return to Films ever. His father died in 1947 and all the responsibility of ancestral property fell on him.

All India Radio, Shimla invited him to work for them. He wrote and directed several dramas for Radio. Same time he acted in stage dramas in Gaiety Theatre of Shimla. According to his daughter, Raj Kapoor had invited him to work in the film Jaagte Raho, but he could not go. He stayed at Shimla till his death in 1977.

I was lucky to get information on this unknown hero, but there are hundreds of artistes without any face or information- only names.

Somehow,I seem to be lucky that some people from faraway countries contacted me and I got clues to get in touch with relatives of yesteryear actors, like Bhudo Advani, Indurani, Parshuram, Latika, Mirza Musharraf and few more. Recently, a gentleman from Dubai contacted me saying that he was the grandson of an obscure hero of over 20 films of 1930s and 1940s. I am in the process of meeting the son of that actor soon. So hopefully, we will know about yet one more old time actor and his career, sometime in coming months.

Today’s song is sung by Vijay Kumar. HFGK does not mention names of singers, Lyricist or the Composer of this film. However, this is one of the 6 songs Vijay Kumar sang for his films, since there was no Playback system in force that time. He sang a song even in New Theatre’s film Abhagin-38.

The uploader of this song on You Tube claims that the music is given by Mushtaq Hussain, HFGK thinks the composer may be Master Chhaila and the daughter of Vijay Kumar claims that HE was the Music Director for this film. Only Time will tell the truth.

Let us enjoy the song. With this song film Azaadi – 1935 makes its Debut on this Blog.


Song-Tan prem ki raakh laga kar ke (Aazaadi)(1935) Singer-Vijay Kumar Pandit

Lyrics

tan prem ki raakh lagaa kar ke
tan prem ki raakh lagaa kar ke
sukh prem ki dhooni ramaayenge
phir prem ki maala phira kar ke
phir prem ki maala phira kar ke
mukh prem ka ??? chadhaayenge
prem hi saadhan
prem hi poojan
prem hi saadhan
prem

prem hi saadhan
prem hi poojan
prem se hi hai safal ye jeewan
prem mein hai (?) jagat mein
prem ki bansi bajaayenge
prem ki bansi bajaayenge

prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem ke pushp chadhaayenge
prem ke pushp chadhaayenge
prem hi prem hai saare jagat mein
prem hi prem hai saare jagat mein
prem hi prem hi prem
prem hi prem hi prem


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 : 3477 Post No. : 13968

The year 1940 can be regarded as a benchmark year for Hindi film industry to assess its progress in the talkie era as it marked about a decade since talkies came into being. Although studio systems (in which artists were on the payrolls of the studios) continued, slowly the star system was evolving in which the star actor commanded the salary acccording to his success rate in box office collections. During this period, actors with star values emerged. They commanded good salary from their respective studios to ward off poaching by the competing film production companies. Films with K L Saigal, Prithviraj Kapoor, Chandramohan, Surendra, Motilal, Ashok Kumar, Durga Khote, Madhuri, Sabita Devi, Kanan Devi, Shobhana Samarth, Leela Chitnis, Naseem Bano etc were expected to be box office hits.

If one goes by the estimates done by ‘Filmindia’ magazine of prominent stars’ salaries in the early 40s, most of these stars were getting a monthly salary ranging from Rs.3000-5000/- from their respective studios. (If we relate it to the cost of indexing to 2013, the amount is equivalent to about Rs.48000-80000/- per month). With the World War-II, the cost of production of films had shot up. There was an acute shortage of raw films. Many film production companies had reported to have bought raw films in the black market.

On the one hand, the cost of film production went up, with less purchasing power at the hands of cinegoers due to World War-II, perhaps they became choosy in watching films. Those days, publicity of films was mostly by words of mouth of the cinegoers. As a result, many Hindi films with star actors failed at the box office. For example, a few films listed below with star value released in 1940 failed at the box office:

1 .Bharosa (1940) – Chandramohan, Sardar Akhtar, Mazhar Khan

2. Deepak (1940) – Prithviraj Kapoor

3. Geeta (1940) – Chandramohan, Durga Khote

4. Main Haari (1940) – Naseem Bano

5. Sajni (1940) – Prithviraj Kapoor, Sabita Devi

‘Haar Jeet’ (1940) produced under the banner of New Theatres was one such film which failed at the box office in spite of having star value and a reputed banner. The film was directed by Amar Mullick. The star cast included Kanan Devi, Pahadi Sanyal, Nawab, Nemo, Nand Kishore, Meera Dutta, Pannalal etc. The film was based on a Bengali short story ‘Shubhojog’ written by Upendranath Ganguli.

The story of the film was as under:

It is the story of two theatrical companies competing with each other. Kamala (Kanan Devi) is the star actress of the Ruby Theatre. Narendra (Pahadi Sanyal) is the star actor of the Bina Theatre. Narendra leaves Bina Theatre and joins Ruby Theatre. Here he falls in love with Kamala. They get married in a rural setting among the peasantsand stay in the rural area. In keeping with the rural setting, Narendra forbids Kamala from acting in the theatres. However, she does not heed his advice and continues to acts in the plays of the Ruby Theatre. They are separated.

After staying among the peasants for some time, Narendra also re-joins Bina Theatre. While the Bina Theatre achieves success, Ruby Theatre goes bankrupt. This is regarded as the punishment for Kamala who has refused to be a dutiful housewife. At the end, Kamala and Narendra are united.[Based on the review of the film in ‘Filmindia’ magazine, November 1940 issue with some additional inputs from ‘Encyclopaedia of Indian Cinemas’].

The ‘Filmindia’ review has blamed inept direction and a weak story line for the failure of the film. I feel that the film’s ending is a reflection on the male dominated society of rural India in the early 20th century which one would often find in Hindi films of 1930s and 1940s.

‘Haar Jeet’ (1940) had 9 songs written by Arzoo Lucknowi and Kidar Sharma. However, individual accreditation to the song is not available. It may be noted that Kidar Sharma had left New Theatres in 1937 after the completion of the shooting of ‘Vidyapati’ (1937). So, I guess, his contribution as a lyricist, if any, may be only marginal and most of songs may have been written by Arzoo Lucknowi. Songs were set to music by R C Boral.

I am presenting the first song ‘mast pawan shaakhen lahraaye’ from the film ‘Haar Jeet’ (1940) which marks the debut for the film in the Blog. The song is sung by Kanan Devi and Pahari Sanyal. The main feature of the song is that it has a long musical prelude of 1:34 and thereafter there are no musical interludes. I guess, this song may have been the earliest one to have the longest duration of the musical prelude in any Hindi film song of that time. Perhaps this record was broken by this song which had a musical prelude of 1:50.


Song-Mast pawan shaankhen lahraayen (Haar Jeet)(1940) Singers-Kanan Devi, Pahadi Sanyal, MD-R C Boral
Both

Lyrics

mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahrayen
phool
phool
phool phool par bhanwre jaayen
jaa kar
preet ke
geet sunaayen
phool phool par bhanwre jaayen
jaa kar preet ke geet sunaayen
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
gaa sajanwaa gaa
sajanwaa
gaa sajanwaa gaa

mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen


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 : 3474 Post No. : 13952

The name Keshavrao Dhaiber may not ring any bells for most readers of the Blog. He was not as famous as V Shantaram, one of his contemporaries and a colleague in Maharashtra Film Company and later in Prabhat Film Company. I became aware of his name only during the last 2-3 years when I was deep into the film songs of 1930s and 40s. But the name did not interest me much until recently when I came across a song from his film ‘Nand Kumar’ (1938) which made me to study his filmy career.

Kolhapur born Keshavrao Dhaiber (1890-1978) who had done a short stint in the Army as Lancer, started his filmy career in Baburao Painter’s Maharashtra Film Company, Kolhapur as an actor and a technician in the early 1920s. Here, he came in contact with V Shantaram. Both of them made their debuts as directors for a silent film– Netaji Palkar (1927) which they co-directed. In 1929, due to differences with Baburao Painter, V Shantaram and Keshavrao Dhaiber left Maharashtra Film Company and formed Prabhat Film Company along with V G Damle, Fatehlal and Sitaram Kulkarni in Kolhapur. Under this banner, Keshavrao Dhaiber and V Shantaram co-directed 3 silent films – ‘Khooni Khanjar’ (1930), ‘Rani Saheeba’ (1930) and ‘Udaykaal’ (1931). He got his first film as an independent director in ‘Zuloom’ (1931), a silent film. [Source: Encyclopaedia of Indian Cinema – Ashish Rajadhyaksha].

I find from his filmography of talkie films that Keshavrao Dhaiber and V Shantaram combination worked as Cinematographer and Director, respectively for ‘Maya Machhindra’ (1932), ‘Ayodhya Ka Raja’ (1932), ‘Sinhagad’ ( Marathi,1933), ‘Sairandhri’ (1933), ‘Amritmanthan’ (1934) and ‘Chandrasena’ (1935). Dhaiber got the opportunity to independently direct his first Hindi talkie film ‘Rajput Ramani’(1936).

During the making of ‘Chandrasena (1935) and ‘Rajput Ramani’ (1936), Dhaiber got romantically involved with the films’ heroine, Nalini Tarkhad. As per the contract among the partners of Prabhat Film Company, partners were not allowed to be romantically linked with actresses who were in the payroll of the Company. Since this was a breach of contract, Dhaiber was forced to resign from the partnership of the Company. He later married Nalini Tarkhad.

It is said that the most vocal among the partners to force Dhaiber to resign from Prabhat was V Shantaram. Interestingly, in 1941, V Shantaram too got romantically linked with Jaishree Kamulkar, another actress in the payroll of Prabhat Film Company whom he married in October 1941. Soon, V Shantaram left Prabhat to form his own film company, Rajkamal Kala Mandir. While V Shantaram’s filmy career continued to flourish after he left Prabhat, same was not the case for Keshavrao Dhaiber.

After leaving Prabhat, Dhaiber formed his own film production company, Jaishree Pictures. Under this banner, he produced and directed ‘Nand Kumar’ (1938) which was made in Marathi and Hindi. He roped in A V Meiyappan (AVM) as producer and Jayantilal Thakore (probably, financier/film distributor) for the Tamil version which was also directed by Dhaiber with a Tamil speaking Assistant Director, Krishnaswami. Unfortunately, all the three versions of the film did not fare well on the box office resulting in heavy losses for him and his newly set up banner. As a result, Dhaiber had to close down his film production company.

It is interesting to note that Prabhat’s ‘Gopalakrishna’ (1938) was released just a month ahead of Dhiaber’s ‘Nand Kumar; (1938). Both had, more or less, the same mythological story. Another interesting part of these two films was that while Ram Marathe played the role of Krishna in childhood in ‘Gopalakrishna’ (1938), the same role for ‘Nand Kumar’ (1938) was played by his brother, Anant Marathe. ‘Gopalakrishna’ (1938) was the 3rd highest grosser at the box office for 1938 while ‘Nand Kumar’ (1938) failed at the box office.

After directing a couple of Marathi films in 1939, he joined Minerva Movietone and directed ‘Ulti Ganga’ (1942) and ‘Bhakta Raidas’ (1943). However, these films too failed at the box office plunging his already downward filmy career further. Dhaiber re-joined Prabhat Film Company as Production Supervisor during 1943-46. Later, he was associated with Famous Studios. His last film as a director was the Marathi film ‘Sudamache Pohe’ (1958). He also made a few documentary films for Maharashtra and Gujarat Governments. He wrote his autobiography ‘Eka Zindagichi Patkatha’ (Screen-play of a Life) which was released in 1967. Unfortunately, I could not get this book either from the publisher nor could I locate it online.

Keshavrao Dhaiber left for the heavenly abode on May 11, 1978 at a ripe age of 88.

Today, ‘Nand Kumar’ (1938) makes its debut in the Blog which was Keshavrao Dhaiber’s first Hindi film as producer-director under his own banner, Jaishree Pictures. The star cast included Durga Khote, Anant Marathe, Govindrao Tembe, Jaishree Kamulkar, Govind Kurvalikar etc. As mentioned earlier, the film was simultaneously produced in Marathi, Hindi and Tamil. While the star cast for the Marathi and Hindi versions were, more or less, the same, the Tamil version had different star cast which included T P Rajlakshmi (Yashoda), T R Mahaligam (Lord Krishna), C V V Panthulu (Nandgopan), Master Sethuraman (Krishna in childhood), T R Ramchandran etc.

The Tamil version of the film also did not do well at the box office. However, the film became the stepping stone for the debutant actors T R Mahalingam, the singer and T R Ramchandran, the comedian. Also, it was the debut film for music director S V Venkataraman. For the first time, the playback system in a Tamil film was used in this film with Lalitha Venkataraman lending her voice to the actress playing the role of Devki. [Source: The Hindu, October 12, 2007].

The song I am presenting today is from the Hindi version of ‘Nand Kumar’ (1938). Durga Khote (in the role of Yashoda) sings this unique type of the song ‘rooth gaye kyon kunwar kanhaai’. The song with prelude and interlude of conversations is not an usual lullaby but a song to assure a crying child. The song is penned by Pandit Veer and it is set to music by G P Kapoor.


Song-Roothh gaye kyun kunwar kanhaai (Nand Kumar)(1938) Singer-Durga Khote, Lyrics-Pt Veer, MD-G P Kapoor

Lyrics

[haan haan haan
kyun rota hai
mera laal
mera pyaara
kyun kyun
maara mere bachche ko
kisne maara
haan haan haan
nahin
chup chup chup
mera bachha]

roothh gaye kyun kunwar kanhaai
roothh gaye kyon kunwar kanhaai
maiyya par bar bar bar jaai
maiyya par bar bar bar jaai
rooth gaye kyon kunwar kanhaai
rooth gaye

[kyun
kyun mere laal
maara
kisen maara mere bachche ko
mera pyaara
hmm hmm hmm
mera munna
mera lalla]

ro ro ansuwan jhari lagaayi
ro ro ansuwan jhari lagaayi
baadal dekh chakoran aayi
baadal dekh chakoran aayi
kyun chanda par badali chhaayi
kyon chanda par badali chhaayi
rooth gaye kyun kunwar kanhaai
rooth gaye kyun kunwar kanhaai


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

Blog Day : 3474 Post No. : 13951

“Ek Raat”(1942) was produced and directed by W Z Ahmad for Shalimar Pictures. The movie had Prithviraj Kapoor and Neena in lead roles with Mubarak, K N Singh, Feroza, Gulab, Prakash, Rajkumari Shukla, Bibi etc.

The movie had 8 songs. One song from the movie has been covered in the past.

This movie was the debut movie of Neena (actual name Shahida) who was launched with an unprecedented media blitz and fanfare prior to the release of the movie. Mr Sadanand Kamath, while covering the first song of this movie has discussed this matter in detail.

Here is the second song from “Ek Raat”(1942) to appear in the blog. This rare song, like the earlier song, is sung by Neena. The lyricist of this movie (for 7 out of 8 songs), including for this song, was Pt Indrajeet Sharma, and not Pt Indra, as is erroneously mentioned in most onine sources.

Music was composed by S K Pal.

The song was picturised on Neena herself.


Song-Ye raag papeeha gaata hai (Ek Raat)(1942) Singer-Neena, Lyrics-Pt Indrajeet Sharma, MD-S K Pal

Lyrics

ye ae ae ae ae ae
raag papeeha gaata hai
ye ae ae ae ae ae ae ae ae ae ae
raag papeeha gaata hai

kyun pawan ke kaandhon par moorakh
kyun pawan ke kaandhon par moorakh
kyun pawan ke kaandhon par moorakh
jeewan ka mahal banaata hai
jeewan ka mahal banaata hai
ik shwaas ka naata hai tera
ik shwaas ka naata hai tera
ye ae ae ae ae ae ae ae
raag papeeha gaata hai

din ke ujiyaale mein kaliyaan
din ke ujiyaale mein kaliyaan
phool banen aur kumhlaayen
phool banen aur kumhlaayen
raat ke
andhiyaare mein
taare
toote
aur

toot toot kar
toot toot kar
toot toot kar
samjhaayen
toot toot kar
samjhaayen
kyon on on on on on on
shwaas ke chhal ke aata hai
ye ae ae ae ae ae ae
raag papeeha gaata hai


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 : 3458 Post No. : 13877

Hullo to Atuldom

Today’s song from a film called “Daal-me-kala” (that is how it was spelt in the titles, when I saw the movie yesterday) which released in 1964. It had a star cast of Kishore Kumar, Nimmi, Agha, Shammi, Abhi Bhattacharya, Bepin Gupta, Om Prakash, Mumtaz Begum, Sulochana Chatterjee, Tun Tun, Sunder, Keshto Mukherjee etc. the movie had four lyricists- Raja Mehdi Ali Khan, Bharat Vyas, Santoshi (again as shown in the titles, must be P.L. Santoshi) and Majrooh Sultanpuri. The playback singers used were Kishore Kumar, Asha Bhonsle, Manna Dey and C. Ramchandra. Music director was C. Ramchandra. The movie was produced by Bepin Gupta and directed by Satyen Bose.

Going by the fact that Kishore Kumar and Agha are in the lead it should have been a musical comedy, it was- very enjoyable. It had a simple story line where Bepin Gupta mistakes Kishore Kumar for a Professor which Abhi Bhattacharya was supposed to be and Om Praskash mistakes Abhi Bhattacharya for a third person who is supposed to be a theatre artist. That means the movie had mistaken identity as its story and this confusion leads to a lot of funny situations. Another thing unusual (by my experience in movie watching) was Nimmi paired with Kishore Kumar. Then I thought it was unusual for C. Ramchandra to take Kishore Kumar as singer and then I remembered an earlier movie called “Aasha”.

Two songs from this movie have been posted in the past. Chaand chupchaap hai and in aankhon ko tumhen apna banaane ki. Today on the occasion of the music director’s death anniversary here is the third song. It is sung by Kishore Kumar as a street side tamasha song. He is dressed as a pathan (a disguise) and is showing a Bhaalu ka khel, with Agha in Bhaalu’s disguise. A very enjoyable song.

Lets enjoy the song and remember Annasaheb- Chitalkar- C. Ramchandra.


Song-Duniya ke baazaar mein kaise khel tamaashe chaaloo (Daal Mein Kaala)(1964) Singer-Kishore Kumar, MD-C Ramchandra

Lyrics

hey
brr brr brr
ae mera bhaaloo bada hoshiyaar
iski keemat paanch hazaar
arre dekhe isko sab sansaar
ye dekho itna makkaar
is’se darta thaanedaar
samjhe sab kuchh mera yaar
ishaara kar doon jab ek baar
chhamaa chham naache beech bazaar
naach naach re naach ke
Bitua
bmm pk pk
ke bituwa
bmm pk pk
ke bituwa

duniya ke bazaar mein
kaise khel tamaashe chaalu
duniya ke bazaar mein
kaise khel tamaashe chaalu
insaanon ne insaanon ko
aaj banaaya bhaalu
dekho ji
dekho ji
dekho ji aaj banaaya bhaalu

reechh mera garib hai
par jaat ka nawaab
dekho jaat ka nawaab
mere har sawaal ka
ye deta hai jawaab
dekho deta hai jawaab
bataa bhagwaan kidhar hai
bataa insaan kidhar hai
bataa iran kidhar hai
bataa afghan kidhar hai
bata imaan kidhar hai
bata haiwaan kidhar hai
mujhko bhi haiwaan bataaye
ye shaitaan ka khaalu
mujhko bhi haiwaan bataaye
ye shaitaan ka khaalu
insaanon ne insaanon ko
aaj banaaya bhaalu
dekho ji
dekho ji
dekho ji aaj banaaya bhaalu

ha aa aa
film mein jaake dhoond rahaa hai
heero ka ye chance
arre aapko ye dikhta hai
ramba samba dance
hoyyy

gore gore
o baanke chhore
kabhi meri gali aaya karo
gori gori
o baanki chhori
chaahe roz bulaaya karo
gore gore
o baanke chhore
kabhi meri gali aaya karo
gori gori
o baanki chhori
chaahe roz bulaaya karo

arre bas bas bas bas
Bas kar bas kar bas kar
Haa aa aa
main to maangu duaa tumhaari ee ee ee
main to maangoon duaa tumhaari
paisa mange kaalu
main to maangoon duaa tumhaari
paisa mange kaalu
dekho ji
dekho ji aaj banaaya bhaalu


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14000 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

14065

Number of movies covered in the blog

Movies with all their songs covered =1081
Total Number of movies covered =3836

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