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

Posts Tagged ‘Bulo C Rani


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

Blog Day :

4706 Post No. : 16410

After about 8 transfers in different states on promotions, I was promoted further and brought to our Head office in Bombay ( it had yet to become Mumbai). I settled down here for good. The year was 1983. While going to the office everyday, I used to see a beautiful Housing society at the corner of Versova Road and Juhu Road junction. The society’s name was ” Karachi Residents’ society-No.4″. I was very curious about this name. On one Sunday, while returning from a friend’s house, I stopped my car near this society, I saw a middle-aged person coming out of the gate. I stopped him and enquired. From what he told me, I gathered that this was a society of those people who lived in Karachi, before the Partition. He further enlightened me that there were 5 such societies in Bombay and there was also a “Lahore Residents’ Society ” which too had 5 numbers. People who fled from Karachi and Lahore at the time of Partition still loved their original abode !

Later I read somewhere that there was a Bombay Residents’ Society in Karachi also ! So the attachments were on both sides !! Partition not only divided the Country in 1947 but also affected the Film industry badly on both sides. Few days ago I was reading a book “Mourning the Nation – Indian cinema in the wake of Partition” written by Bhaskar Sarkar. Then I remembered those societies. Today, those society buildings have been pulled down and new buildings have come up, with different new names. However, a closer look shows older names mentioned in small letters in brackets on the new name boards.

According to the book, Indian film industry lost some Gems, but Pakistan was not in a position to do justice to these Gems, as their film industry was in doldrums. Everything had to be started all over again. Till that time the artistes had to wait. Problem in India was the void created by the exit of artistes, but this was easily done by a strong reserve available, waiting in the wings for opportunities. This was the second line. The problem in Pakistan was having to establish the infrastructure itself plus financers for the film production, since the economy was yet to develop.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It was an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution. Many talented actors and musicians from Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from Lahore, Calcutta and other places too.

The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some Indian artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan, Dawood Chaand, Rakhan, Nusrat Mansoori, M H Qasim, Roop K Shorey, Butt Kasher, Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

About two years ago, there was a fruitful discussion on my Facebook page about Partition effects on Film industry in India and Pakistan. Many senior experts (from US and UK too !) participated and some more new information came out of this discussion…..

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way in Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Priyatam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shorey, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s followed such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir Ahmed khan shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim actress Anwari, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped almost completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did a lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for new singers and new blood composers.

Despite all this in the Partition year – 1947 saw making of a Record number of films in India – 181 (this record remained till 1985). Of course most films were made in a hurry to complete before the deadline of August-1947. Still, even in these circumstances also some very good, meaningful, milestone and musical films were made in 1947, like… Aaj aur Kal (the first Sci Fi film), Bhakta Dhruv, Dard, Do Bhai, Elan, Jugnu, Leela, Meera, Meerabai, Mirza Sahiban, Natak, Parwana, Shehnai, Sindoor etc.etc.

Today’s song is from one of the unknown films of 1947 – Bela. The only noteworthy point about this film was, it was the first ever film of Zohrabai, where she sang all the 10 songs of the film. The other film surpassing this record was film Meerabai – 47, where Sitara Kanpuri sang all the 13 songs of the film. However even this record was broken in 1947 itself when M. S. Subbulakshmi sang all 17 songs of her film Meera-1947. As far as I remember this record is yet unbeaten.

Bela-47 was made by Ranjit Cinetone. It was directed by Chaturbhuj Doshi and the MD was Bulo C Rani. The film had 10 songs. 9 songs are already discussed. Today’s song is the last 10th song and the film says YIPPEE. I was given this song by Abhay Jain ji of US, but it was a slightly short one. Sadanand Kamath ji found another version song which was longer and uploaded it for me. I thank both of them.


Song- Peepal ke patve se chikni meri gori re (Bela)(1947) Singers- A R Oza, Zohrabai Ambalewaali, Lyricist- D N Madhok, MD- Bulo C Rani

Lyrics

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

pyaar ke phool mein balma kaante lage hain
lag na jaaye
pyaar ke phool mein balma kaante lage hain
lag na jaaye
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
kehti rahoon
kit dhoondhoon kit jaaun re
kehti rahoon
kit dhoondhoon kit jaaun re
mera to haal mere baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho


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

This article marks the 3100th song post of Mohammad Rafi in the blog. This aticle is the 300th writeup of nahm in the blog

Blog Day :

4542 Post No. : 16115

Mohammed Rafi – 96th birth anniversary

—– Waqt ——-

Yeh waqt kya hai
yeh kya hai aakhir ke jo musalsal guzar raha hai
yeh jab na guzra thha
tab kahan thha
guzar gayaa hai to ab kahan hai
kahin to hogaa
kahan se aaya kidhar gayaa hai
yeh kab se kab tak ka silsilaa hai
yeh waqt kya hai
yeh waqi’ye
haadse
tasaadum
harek gham
aur har ek masarrat
har ek azziyat
har ek lazzat
har ik tabassum
har ek aansoo
har ek naghma
har ek khushboo
woh zakhm ka dard ho
ko ho lams ka jaadoo
khud apni awaaz ho ki mahaul ki sadaayen
yeh zehan mein banti aur bigadti hui fazaayen
woh fikr mein aaye zalzale hon ki dil ki halchal
tamaam ehsaas
saare jazbe
ye jaise patte hain
behte paani ki sateh par
jaise tayrte hain
abhi yehaan hain
abhi wahaan hain
aur ab hain ojhal
dikhaayi detaa nahin hai lekin
yeh kuchh to hai
jo ki beh rahaa hai
yeh kaisa dariya hai
kin pahaadon se aa rahaa hai
yeh kis samandar ko jaa rahaa hai

yeh waqt kya hai
kabhi kabhi main yeh sochtaa hoon
ki chalti gaadi se ped dekho
to aisa lagtaa hai
doosri simt jaa rahe hain
magar haqueeqat mein
ped apni jagah khade hain
to kya yeh mumkin hai
saarisadiyaan
qataar-andar-qataar apni jagah khadi hon
yeh waqt saakit ho
aur ham hi guzar rahe hon
is ek lamhe mein
saare lamhe
tamaam sadiyaan chhupi hui hon
na koyi ‘aayinda
na guzishtaa
jo ho chukaa hai
jo ho rahaa hai
jo hone waala hai
ho rahaa hai
main sochtaa hoon
ki kya yeh mumkin hai
sach ye ho
ki safar mein ham hain
guzarte ham hain
jise samajhte hain ham
guzarta hai
wo thhamaa hai
guzarta hai ye thhamaa huaa hai
ik aayi hai ye bataa huaa hai
hai munjamid
yaa pighal rahaa hai
kise khabar hai
kise pataa hai
yeh waqt kya hai

yeh kaaynaat-e-azeem
lagtaa hai
apni azmat se
aaj bhi mutma’een nahin hai
ki lamha lamha woh
wasee’a-tar aur wasee’a-tar hoti jaa rahi hai
yeh apni baahen pasaarti hai
yeh kehkashaaon ki ungliyon se
nayi khalaaon ko chhoo rahi hai
agar yeh sach hai
to har tasavvur ki had se baahar
magar kahin par
yaqeenan aisa koyi khalaa hai
ki jis ko
in kehkashaaon ki ungliyon ne
ab tak chhuaa nahin hai
khalaa
jahaan kuchh huaa nahin hai
khalaa
ki jis ne kisi se bhi ‘kun’ sunaa nahin hai
jahaan abhi tak khudaa nahinhai
wahan
koyi waqt bhi na hogaa
ye kaayenaat-e-azeem
ik din
chhuegi
is an-chhuye khalaa ko
aur apne saare wajood se
jab pukaaregi
‘kun’
to waqt ko bhi janam milegaa
agar janam hai to maut bhi hai

main sochtaa hoon
yeh sach nahin hai
ki waqt ki koyi ibtidaa hai na intehaa hai
yeh dor lambi bahot hai
lekin
kahin to is dor ka siraa hai
abhi yeh insaan ulajh rahaa hai
ki waqt ke is qafas mein
paida huaa
yahin woh palaa badhaa hai
magar use ‘ilm ho gayaa hai
ke waqt ke iss qafas se baahar bhi ik fazaa hai
to sochtaa hai
vo puchhtaa hai
yeh waqt kya hai

– Javed Akhtar –

I had heard a part of the above poem and just decided to reproduce it in a post. But while typing the whole saga, it lost me on the way to the end. I am able to understand it word to word, but to understand what exactly Javedsahab is trying to say or ‘in ke kehne ka tatparya kya hai’, I will have to go deep. Or maybe not so deep and what he says is what he means.
______________________________________________

This terrible year is coming to an end. Human kind has endured a test of psychological strength this year. And has learned (hopefully) that even if places of worship are not open, the Almighty is reachable from anywhere, for the universe, the world and its occupants, owners and tenants, wheelers and dealers, the powerful and the poor, the destitute and the able bodied, are all His creations. The ‘khalaa’ that Javed Akhtar refers to in the poem above, is also the creation of the Almighty creator. So is the concept if ‘waqt’. Whether it is running away from you or towards you. The time is allotted to us, to live on this earth peacefully with other creations. Before I move on, ‘khalaa’ is space, in worldly terms is means ‘empty space’ and in celestial terms it is infinite.

Its Mohammed Rafi Sahab’s 96th birth anniversary on 24/12/2020. Usually for Rafi sahab’s anniversary posts, or for the century posts, Raja ji is invited to do the honors of writing a special post. But I am seizing the opportunity, this time round. It is Rafi Sahab birth anniversary post as well as the 3100th songs post by Rafi sahib on the blog. This post is also my 300th song post, so a special Rafi song is called for this occasion.

Two months ago, I was looking for a song by Usha Timothy to post for her birthday on 8th October. I found a song by her, but it turned out to be a group song. The audio clip was 11 minutes long. The song itself is more than 9 minutes. Myswar.com listed this as a two part song one by Suman Kalyanpur and Usha Timothy and another by Mohammad Rafi and Manna Dey. It is from the 1966 film “Sunehre Kadam” and is composed by Bulo C. Rani. The lyricist is Nyay Sharma.

This is a very special song I have come to realize it while writing the lyrics. I will have to list them so that I don’t miss any points:

1. It has the longest solo rally, for a group song by Rafi sahab and large part of this rally is with minimal music.
2. This must be the only song with these four singers together.
3. The way the repetition of lines is done throughout the song, with singing of the same line in a different way. This is especially true of Rafi sahab’s repeated lines and also Manna De’s. In Rafi sahab’s songs, invariably it can be taken for granted, that the repetition of lines will have variations.
4. The song is a like a relay race, and the one starting it is doing the winner’s lap, with the trophy.

Actually Manna De has a small part to sing but Usha Timothy is having very few lines to sing. Seeing the video was a surprise again. It is a competition sort of song with two artists performing on stage and singing is done by Agha in Rafi’s voice and Shashi Kala in Suman Kalyanpur’s voice. Rehman is seen standing next to Agha and enjoying his singing, so is a female standing next to Shashi Kala similarly amused by the song. The expressions of quite enjoyment on Rehman’s face can be described perfectly in one word, i. e. “Mehzooz”.

A comment on youtube said that this song based on raag zhinjhoti/maanjhkhamaj. Whether it is true or not, the song does sound unique and stand out as a song to be savoured.

These are the songs from the movie already posted in the blog :

Song Date of posting Remarks
Na baaz aayaa muqadaar mujhe mitaane se 24 June 2011 MD-Bulo C Rani
Naazuk hoon albeli hoon 2 August 2011 MD- S Mohinder
Maangne se jo maut mil jaati 5 October 2011 MD-Bulo C Rani
Ye ghar aapkaa hai chale aayiye jee 25 October 2011 MD-Bulo C Rani
Na to inkaar kiya na to iqraar kiya 29 October 2020 MD-Bulo C Rani

The song is like a gorgeous long meal, a smorgasbord. Mohammed Rafi sahab is singing different portions of this song, with relish. And we listeners are mesmerised. The bass of Manna Dey’s parts is in tune with Rafi sahab’s sometimes sweet, sometimes mischievous, nasheeli, some with smooth softness. We can’t actually eat this, but we consume it and our senses absorb the nuances of the song. I just wish the parts where Suman Kalyanpure and Usha Timothy are singing, could be softened a little. They bring a mesmerised person back to earth, but Rafi sahab is back again in the last part of the song, in tandem with Manna Dey and they both bring it to a level field so we are not too sorry the song has ended, and there is no more of it to be heard for the first time.

I actually looked far and wide, to find if there is still more left to be found of this song. Lyrics by Nyay Sharma are equally good and make the most of the tune of the song. But for the large parts of the song, the words were redundant I felt, it was the raag and the rhythm and soft vocal voice singing the words which became paramount. This is a rarity, as it happens only with classical raagaa’s. The only other time I can recall this happening with me, was when I heard Kumar Gandharv here .
Is this what is known as a sum total greater than its parts?

Video :

Audio:

Song-Taqdeer ne kya angdaai li (Sunahre Qadam)(1966) Singers-Rafi, Manna Dey, Suman Kalyanpur, Usha Timothy, Lyrics-Nyay Sharma, MD-Bulo C Rani

Lyrics

Maah e nau ki ee
naav par
nikli sawaari raat ki
neel ke dariyaa mein basti
dhundh ki
jazbaat ki
husnwaalon ke ae
saron par
phool barsaati hui
gudgudaati
muskuraati
chhedti ee ee
gaati hui
jab kabhi patwaar se ae
yoonhi
ishaare ho gaye
kuchh ude
qatre hawaaa aa aa aa aa aa
mein
aur sitaare ho gaye

waqt ko taareeki – ye –shab ne
meherbaan kar diyaa
do jawaan roohon
ke mil jaane ka
saamaan kar diya
re taqdeer ne kya angdaai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa
aur dil ki duniyaa aa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

sitaaron dhale
ek khandar ke tale
do dil yoon mile
yoon mile
yoon mile
taare lehraa gaye
har kali khil gayi
bekali dhul gayi
apne hi aap par
apne hi aap par
apne hi aap par
phool sharmaa gaye
waqt ke saaz par
husn ke naaz par
ehl e dil mar mite
o o o
aarzuen to kya aa
aahen tak phoonk din
aarzuen to kya
aahen tak phoonk din
manzil e husn par
qaafile yoon lute
qaafile yoon lute ae
o o
qaafile yoon lute ae
qaafile yoon lute ae ae
jab khoon bahaa apne dil se
jab khoon bahaa apne dil se
mehfil unn ki rangeen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa
kuchh husn badhaa

aur dil ki duniyaa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui

taqdeer ne kyaa angdaai li
jeene ki fizaa sangeen hui

jab pyaar ki baaten ishq ne ki
jab pyaar ki baaten ishq ne ki

tab husn ki rooh
ho o ho o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi ee
tab husn ki rooh
ghamgeen huyi

ik ?? gul jabeen
shaakh par ho haseen
iss ko chhedo
haan chhedo
haan chhedo
nahin ee
maili ho jaayegi

gird to ghoom lo
dekhkar jhoom lo
nigaah se choom lo
warna kho jaayegi
ham vashinde nahin
apnaa saahil nahin
jis ka ye dil nahin
rooh so jaayegi

ho o o o
ari jadoo gayaa

o o o o o
jism keqadardaan

are jadoo gayaa
jism ke qadardaan
pyaar ki daastaan
pyaar ki daastaan
ruswaa ho jaayegi

pyaar ki daastaan
aa aa aa
ruswaa ho jaayegi
ruswaa ho jaayegi ee ee
tum aag ko raag samajh baithhe
tum aag ko raag samajh baithhe
angaaron se hi taskeen huyi

jab pyaar ki baaten
ishq ne ki
jab pyaar ki baaten
ishq ne ki

tab husn ki rooh
o o o o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi

taqdeer ne kya angdai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa aa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
o o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

ho ooo
o o o o o o
o o o o o o
o o o o o o
ho o o o
o o o o

shaakh par ki kali
ho wo kitni bhali
jo na dil se lagi
jo na dil se lagi
umr dhal jaayegi

hawas aur pyaar ka
qissa takraar ka
farq bekaar ka
farq bekaar ka
jawaani
dhal jaayegi
ho ooo
jadoo ye dam ba dam

ho oo o
oooooo
naghmon ke taal o samm
jadoo ye dam ba dam
naghmon ke taal o samm

ye sunehre qadam
ye sunehre qadam
mai ubal jaayegi ee
khud ko awaaz do
waqt ko saaz do

ishq ka naaz do
raat tal jaayegi

o jaaneman
yoon na ghabraayiye
paas to aayiye
har adaaa apki
dil nasheen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
ooooo
oooooo
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui


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

Blog Day :

4527 Post No. : 16088

“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it. The movie had seven songs in it. Four songs have been covered in the past.

Here is the fifth song from “Husn Ka Chor”(1953) to appear in the blog. The song is sung by Rafi and chorus. Bulo C Rani is the music director. The movie had three lyricists but it is not clear who penned the lyrics of this song.

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


Song-Duniya mein hain bande pyaare daulat ke (Husn Ka Chor)(1953) Singer-Rafi, MD-Bulo C Rani
Chorus
Rafi + Chorus

Lyrics

duniya mein hain bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

daulat sab ke aib chhupaye
daulat ka hai bolbaala
bolbaala
chaar dinon ki chaandni mein
iski raushni sabse aala
sabse aala
saari duniya chalti hai sahaare daulat ke
duniya me hai bande pyaare
daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke

ye daulat imaan khareede
ye daulat insaan khareede
ye daulat imaan khareede
ye daulat insaan khareede
daulatwaala take take mein
muflis ke armaan khareede
bade ghazab ke khel hai
nyaare nyaare daulat ke

daulat ke hain sab deewaane
daulat ke hain sab deewaane
ek shama hai laakh parwaane
ek shama hai laakh parwaane
duniya mein hain itne thheke
duniya mein hain itne thheke
gali gali mein maikhaane
o dekho gali gali maikhaane
ae ae ae ae
ae ae ae ae
rang rageele hain humaare pyaare daulat ke
duniya mein hai bande pyaare daulat ke
baanye haath ke dhandhe saare daulat ke
humma heli baba teli sab matwaale daulat ke
jahaan dekho wahaan dekho phande saare daulat ke


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

Blog Day :

4520 Post No. : 16078

‘Tin-Tin-Tin-1959’ made its debut on the blog more than six years ago. One of its songs, viz jhoomti bahaar hai raat hai jawaan was posted on the blog on 12.08.2014. This lovely song is sung by Sudha Malhotra.

‘Tin Tin Tin-1958’ was directed by B.J. Patel for ‘Kirit Films, Bombay’. It was produced by Dhanpatrai. It had Ceasar (a dog trained by Jimmy Bharucha), Neelofar, Samar Roy, Mirajkar, Habib, Rajan Kapoor, Vishwa Mehra, Devchand, Moolchand, Bhudo Advani, Abdul Sattar, Tun Tun and others.

This movie was passed by Censor Board on 06.08.1959.

This movie had five songs composed by Bulo C. Rani. They were written by Anand Bakshi (two songs) and Aziz Kashmiri (two songs) whereas for one song the lyricist name is not mentioned in HFGK.

The five songs are as listed below;

SN Song Lyricist
1) Sun sun matwaale, bach bach dilwaale (Anand Bakshi)
2) Chhori hai tu baanki, chhora hoon main baanka (?)
3) Baaghon mein phoolon ki bahaar aayi (Anand Bakshi)
4) jhoomti bahaar hai raat hai jawaan (Aziz Kashmiri)
5) Kisne loota hai karke ishaara hamen (Aziz Kashmiri)

Today we will listen to another song from this movie. This one is written by Anand Bakshi.

The song is ‘baaghon mein phoolon ki bahaar aayi, leke jawaani ki khumaar…’ sung by Sabita Bannerjee.

It seems that Anand Bakshi had taken a fancy for the phrase ‘baaghon mein bahaar’ right from his early days. He sang a song (written by him) ‘baaghon mein bahaar aayi’ with Lata Mangeshkar in ‘Mom Ki Gudiya-1972’ and before that he had penned ‘baaghon mein bahaar hai’ in ‘Aradhana-1969’.

Today’s song seems to be his first tryst with ‘baaghon mein bahaar’ and it would be interesting to know if there are other songs wherein Anand Bakshi has used the phrase‘baaghon mein bahaar’ 😊

Let us enjoy today’s song in the voice of Sabita Bannerjee. I have not been able to note down correct words at many places and would request readers with keener ears to kindly correct me.

Also, I would like to request knowledgeable readers to throw more light on this movie and its songs …


Song-Baaghon mein phoolon ki bahaar aayi (Tin Tin Tin)(1959) Singer-Sabita Bannerjee, Lyrics-Anand Bakshi, MD-Bulo C Rani
Chorus
All

Lyrics

Baaghon mein phoolon ki bahaar aayi
Leke jawaani ka khumaar aayi
Meethhi chubhan si
Halki jalan si
Naazuk badan main
Huyi haaye re
La la la la laa laa la la la
Baaghon mein phoolon ki bahaar aayi
Leke jawaani ka khumaar aayi
Meethhi chubhan si
Halki jalan si
Naazuk badan main
Huyi haaye re

Bheeni si khushboo
Ho ho
Barsaati har su
Ho ho
Kiski nigaahon mein armaan machi har kali
Huyi huyi
Dil ki bahaarein
Cheekhen (?) pukaaren
Naazuk hai ye jaan
Yoon phool ban kar khili
Jabhi to kehti hoon main
Baaghon mein phoolon ki bahaar aayi
Leke jawaani ka khumaar aayi
Meethhi chubhan si
Halki jalan si
Naazuk badan main
Huyi haaye re

Baalon se khelen
Ho ho
Gaalon se khelen
ho ho
Paani ki bechain Betaab Maujen bane
Balle balle
Sharmaayi gori
Ghabraayi gori
Halki si jaadu se(?)
Ab koi bas na sake
Jabhi to kehti hoon main

Baaghon mein phoolon ki bahaar aayi
Leke jawaani ka khumaar aayi
Meethhi chubhan si
Halki jalan si
Naazuk badan main
Huyi haaye re

Aayi jawaani?
Ho ho
Hai ye deewaani
Ho ho
Achchhe bhale jee ko behkaayegi dekhna
Huyi huyi
logon ki aankhen
Dilon mein jhaanken
Aise nigaahon ko takraayegi jee dekhna
Jabhi to kehti hoon main

Baaghon mein phoolon ki bahaar aayi
Leke jawaani ka khumaar aayi
Meethhi chubhan si
Halki jalan si
Naazuk badan main
Huyi haaye re


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

Blog Day:

4486 Post No. : 16007

“Sunahre Kadam”(1966) was directed by Satish Nigam for Saraswati Kala Mandir, Bombay. The “social” movie had Rehman, Shashikala, Agha, Sabitaa Chaatterjee, Randheer etc in it.

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

Here is the fifth song from “Sunahre Kadam”(1966) to appear in the blog. The song is sung by Sudha Malhotra and G M Durrani. Though HFGK does not mention the kt=yricists for this song, some comments from kniwledgeable readers suggest that it was penned by G M Durrani. I request our knowlwedgeable readers to throw light on this matter.

Music is composed by Bulo C Rani.

The song is picturised on Rehman and Shashikala. Later, two or three more couples join in. I can only identify Agha and Tuntun. I request our knowledgeable readers to help identify all of them.


Song-Na to inkaar kiya na to ikraar kiya(Sunahre Kadam)(1966) Singer-Sudha Malhotra, G M Durrani, Lyrics-G M Durrani, MD-Bulo C Rani
Both

Lyrics

na to inkaar kiya
na to ikraar kiya
palken jhukaa ke chupke chupke jiya
maar diya aa aa maar diya ho o

na to inkaar kiya
na to ikraar kiya
palke jhukaa ke chupke chupke jiya
maar diya aa maar diya ho o

laakh kinaara karo chhupo lajaao daro
aah bharo na bharo nain mile ae
laakh kinaara karo chhupo lajaao daro
aah bharo na bharo nain mile
prem jawaani mile aag se paani mile
roop ki raani mile chain mile
poocha na ji kisi ne gore mukh pe

waar diya aa waar diya ho
na to inkaar kiya na to ikraar kiya
palken jhukaa ke chupke chupke jiya
maar diya aa maar diya ho o o

aankhen hain jhuki jhuki
saansen bhi ruki ruki
tamanna thhaki thhaki so gayi
aankhen hain jhuki jhuki
sanse bhi ruki ruki
tamanna thhaki thhaki so gayi
ham samhje umar kachchi
dil khula neeyat achchi
lekin mohabbat sachchi ho gayi
budhdhu banaa ke sabko apna beda
paar kiya aa paar kiya ho o o

na to inkaar kiya na to ikraar kiya
palken jhukaake chupke chupke jiya
maar diya aa maar diya ho o o
na to inkaar kiya na to ikraar kiya
palken jhukaake chupke chupke jiya
maar diya aa maar diya ho o


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

Blog Day :

4456 Post No. : 15931

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.


Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re

hoye hoye re hoye re
arre o mareez
khaaya thha kya

teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya

khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya

arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re

hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon

ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re

hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein

mohabbat karne waale mein
mohabbat karne waale mein

khuda bakhse bahut si
khoobiyaan ki marne waale mein

aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar

haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re

haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy


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

Blog Day :

4432 Post No. : 15865

“Bela” (1947) was directed by Chaturbhuj Doshi for Ranjit Movietone, Bombay. The story, screenplay, dialogues and Lyrics of this movie were by D N Madhok. The movie had P Jairaj, Nigar Sultana, Shrinath Tripathi, Pt.Iqbal, Krisnakumari, Master Mehmood, Rekha, Usha, B.R.Sharma etc. in it.

The movie had ten songs in it. Eight of these songs have been covered in the past.

Here is the ninth song from the movie. This song is sung by Zohrabai Ambalewaali. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. My guess is that this melancholic song was picturised on the leading lady viz Nigar Sultana. I could be wrong as well, seeing that Zohrabai Ambalewaali’s voice figured in all the ten songs of the movie, so who knows, she may have sung for all the important ladies in the movie, in addition to leading lady. I request our knowledgeable readers tp throw light on the picturisation of the song.


Song-Ho zara meri gali aaa re balam (Bela)(1947) Singer-Zohrabai Ambalewaali, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics

Ho zara meri gali aa re balam
zara meri gali aaa re baalam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
ho zara meri gali aa re balam
zara meri gali aa re balam

rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
rain diwas jiya dagmag doley
tera naam pukaare
dheere dheere haule haule
jab main pyaar se poochhoon to yehi boley
jab main pyaar se poochhoon to yehi boley
nanhi si jaan hai meri
haaye baalma aa
nanhi si jaan hai meri
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
zara meri gali aa re balam

aadhi aadhi raat
aadhi aadhi raat
mera nindiya se jaagna
aadhi aadhi raat
mera nindiya se jaagna
naam tera le le ke
it ut bhaagna
naam tera le le ke
it ut bhaagna
ab to milo baalma aa
haay baalma aa
ab to milo baalma aa
haay baalma aa
chhoot na jaaye ye dam
zara meri gali aa re balam
zara meri gali aa re balam
nanhi si jaan hai meri ee
haaye baalma aa
nanhi si jaan hai meri ee
haay baalma aa
tod na de tera gham
zara meri gali aa re balam
ho zara meri gali aa re balam


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

Blog Day :

4403 Post No. : 15788

‘Baadshaah Salaamat-1956’ was directed by Prem Sinha for ‘Mayfair Pictures, Bombay’. It had Shyama, Amarnath, Smriti Biswas, Bhagwan, B. M. Vyas, Chandrashekhar, Maruti, Ramesh Thakur, Naaz, Heera Sawant, R. Tiwari, Vinay Kumar and others. Anwar Hussain and Minu Mumtaz make a guest appearance in this movie.

This movie had nine songs composed by Bulo C. Rani. Five lyricists contributed as lyrics writer where P. L. Santoshi wrote two songs, K. Razdaan-two songs, Raja Mehdi Ali Khan-one song, Vinay Kumar- two songs and Shafiq Kanpuri-two songs. Asha Bhonsle, C.H. Atma, Geeta Dutt, G.M. Durrani, Manna Dey, Mohd Rafi and Sudha Malhotra had given their voices to the songs in this movie.

This movie was passed by Censor Board on 12.10.1956.

So far only one song from this movie have been posted on the blog on 09.09.2014.

Today 7th August 2020 is the 104th birth anniversary of Producer, Director, Writer P.L. Santoshi (07.08.1916- 07.09.1978).

On this occasion here is a song written by him from the movie ‘Baadshaah Salaamat-1956’.

This song is sung by Geeta Dutt and Mohd Rafi and it is composed by Bulo C. Rani. Lyrics are by P.L. Santoshi.


Song-Zara dekh idhar (Baadshah Salaamat)(1956) Singers-Geeta Dutt, Rafi, Lyrics-P L Santoshi, MD-Bulo C Rani
Both

Lyrics

Zaraa dekh idhar rr
Zaraa dekh dekh
Dekh idhar
Ka ka ka kidhar rr
Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar
Sun to sahi kehti hai kya
Meri nazar
Ye meri nazar
Lagtaa hai darr
Kahin tirchhi nazar
Lag jaaye na idhar
Main jaaun na marr
Zaraa dekh udhar rr
Yaa

Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar

Kehti hai paas mere tu aa
Nazron se meri nazar milaa
Are kehti hai paas mere tu aa
Nazron se meri nazar milaa aa

Nazron se meri nazar milaa
Ek duniya dil mein nayi basaa
Magar rr rr
Lagtaa hain darr
Kahin tirchhi nazar
Lag jaaye na idhar
Main jaaun na marr
Zaraa dekh udhar
Are udhar udhar udhar

Zaraa dekh idhar
Zaraa dekh dekh
Dekh idhar

Ye kaisi mohabbat
Karta hai tu oo
Ye kaisi mohabbat
Karta hai tu oo
Marne se itna darta hai tu
Marne se banda darta nahin
Ja ja ja ja ja kabhi ulfat mein koyi martaa nahin
Hoo hoo hoo
Marne se banda darta nahin
Kabhi ulfat mein koyi martaa nahin

Kabhi ulfat mein koyi martaa nahin
Kabhi ulfat mein koyi martaa nahin
Phir kaisi agar
Phir kaisi magar
Hu aha ha
Phir kaisi agar
Phir kaisi magar
Zaraa dekh udhar
Zaraa dekh dekh dekh udhar

Ye o h aha ha

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

ज़रा देख इधर ’र’र
ज़रा देख देख
देख इधर
क क क किधर ‘र’र
ज़रा देख इधर
ज़रा देख देख
देख इधर
सुन तो सही कहती है क्या
मेरी नज़र
ये मेरी नज़र
लगता हैं डर
कहीं कहीं तिरछी नज़र
लग जाए न इधर
मैं जाऊं न मर
ज़रा देख उधर ‘र’र’
या

ज़रा देख इधर
ज़रा देख देख
देख इधर

कहती है पास मेरे तू आ
नज़रों से मेरी नज़र मिला
अरे कहती है पास मेरे तू आ
नज़रों से मेरी नज़र मिला आ

नज़रों से मेरी नज़र मिला
एक दुनिया दिल में नयी बसा
मगर ‘र’र ‘र’र
लगता हैं डर
कहीं तिरछी नज़र
लग जाए न इधर
मैं जाऊं न मर
ज़रा देख उधर
अरे उधर उधर उधर

ज़रा देख इधर
ज़रा देख देख
देख इधर

ये कैसी मोहब्बत
करता है तू ऊ
ये कैसी मोहब्बत
करता है तू ऊ
मरने से इतना डरता है तू
मरने से बन्दा डरता नहीं
जा जा जा जा जा कभी उल्फत में कोई मरता नहीं
हू हू हू
मरने से बन्दा डरता नहीं
कभी उल्फत में कोई मरता नहीं

कभी उल्फत में कोई मरता नहीं
कभी उल्फत में कोई मरता नहीं
फिर कैसी अगर
फिर कैसी मगर
हु आहा हा
फिर कैसी अगर
फिर कैसी मगर
ज़रा देख उधर
ज़रा देख देख देख उधर

ये ओ ह आहा हा


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

Blog Day :

4310 Post No. : 15587

Maangne Se Jo Maut Mil Jaati
Kaun Jeeta Is Zamaane Mein

Lata ji’s voice is so truly a match for the sadness oozing from this song, that seems to be so steeped in dejection and sorrow. The film – ‘Sunehre Kadam’ – the last one in Hindi cinema that he composed for in 1966. And as if this expression was not adequate, the film also has another equally melancholic song to match the depths of misery – “Na Baaz Aayaa Muqaddar Mujhe Mitaane Se”.

Bulo C Rani – music director, whose talent was never in question, and yet, in his career he stayed forever, in the sidelines and under the shadows of the bigger names in film. We celebrate his 99th anniversary of birth today, 6th May.

He was born this day in the year 1921, in Hyderabad, Sindh (now in Pakistan). As is with so many of the other lesser known artists of that era, practically no biographic information is documented. His father was a well known musician in his time. Bulo himself was a good singer and used to sing sufi kalaam, especially that of Abdul Shah Lateef. His love for music brought him to Lahore. He was just 21 at that time.

The shooting and processing of the film ‘Khandaan’ (1942) was in progress. Bulo met with Ghulam Haider, but did not get much attention from him. Then he also chanced to meet with DN Madhok, and a very good friendship came about. Madhok Sb got the young Bulo to travel with him to Bombay (now Mumbai). Once there, Madhok Sb got the young musician introduced into the world of Ranjeet Studios in the music department. He assisted Khemchand Prakash and Gyan Dutt in films like ‘Chandni’ (1942), ‘Sukh Dukh’ (1942), ‘Tansen’ (1943),  ‘Shahenshah Babar’ (1944) etc. In 1943 itself, his name appears for the first time in credits as a music director. He shares the music direction work with Gyan Dutt, for the film ‘Paighaan’ (1943). This is followed by a full independent responsibility for music direction, for the film ‘Caravan’ (1944).

Besides shaping up as a music director, the young Bulo was also singing. In his own films and also in films under the music direction of Khemchand Prakash and Gyan Dutt. He sang under the name of Bhola. Now that I read this name, I am wondering, whether the first name ‘Bulo’ is a variation on the name ‘Bhola’ that he used as a singer, and whether that his real first name was Bhola or Bhola-something.

With ‘Paighaam’ starts a journey of about two and a half decades during which he has given music to a little less than 600 songs in 68 or so films.

An interesting side note here. In the 1958 film ‘Al Hilal’, Bulo C created an iconic qawwaali of gigantic and everlasting popularity – “Hamen To Loot Liya Mil Ke Husn Waalon Ne”. After that, he tried to recreate the same magic in practically every alternate film that he did in the next 7 to 8 years. One qawwali by him appears in the films ‘Tin Tin Tin’ (1959), ‘Black Tiger’ (1960) , ‘Pedro’ (1960), ‘Anarbaala’ (1961), ‘Room No. 17’ (1961), ‘Jaadu Mahal’ (1962), ‘Madame Zorro’ (1962), ‘Magic Box’ (1963), ‘Haqdaar’ (1964) and ‘Son Of Hatitai’ (1965). The tone of the qawwaalis is almost similar to the iconic qawwaali of ‘Al Hilal’. But alas, none of the later qawwaalis made any lasting impression.

After the mid 1960s, no more work came his way. The mood of the Hindi film music was under transition, and like a few other music directors, he slowly faded from the memory – both of the listening public and of the film producer fraternity, He did work on some Sindhi films, and started giving coaching classes for music. Forgotten by the industry and his friends, he descended into depression in his later years. The dejection in life came to such an extreme that he eventually ended his own life (May 24, 1993). That he could not get by asking, he snatched it for himself –

maangne se to nahin mili to badh ke khud hi chheen li
jeena nahin tha aur is zamaane mein

The song presented today is quite uncharacteristic in style. This sounds more like an OP Nayyar-ish melody than a Bulo C Rani tune. The film is ‘Black Tiger’ from 1960. The film is produced by MH Doctor under the banner of Highway Pictures, Bombay and is directed by Akku. It is a stunt film with the star cast listed as Nadira, Azad, Sheikh, Ram Raseela, Habeeb, Jilani, Heera Sawant, Najma, Charanjeet, Arvind Kumar, Malik, Maqbool, Kedar, Gulab, Daatu, Sadhna, and Belan etc. Hmm, it is interesting to note – Nadira appearing in the female lead role in a stunt film in 1960. That is if she is the same Nadira that we are familiar with. I request other knowledgeable readers and friends to please add more information about this.

The film has 6 songs. 5 of them are written by Saba Afghani and the sixth one is by Tabish Kanpuri. This song is from the pen of Saba Afghani. The singing voices are of Geeta Dutt and Mahendra Kapoor. A delightful song of romantic exchange that has a very pleasing sound.

Listen and enjoy.

Song – O Parwaana, Kehta Hai Kya Afsaana  (Black Tiger) (1960) Singer – Geeta Dutt, Mahendra Kapoor, Lyrics – Saba Afghani, MD – Pt Shivram
Geeta Dutt + Mahendra Kapoor

Lyrics

o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji
o deewaana
laaya hai dil nazraana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji

ye mausam
ye raaten
ye baaten khoyi khoyi
ye masti
ye shokhi
dil kaise bachaaye koi
ye mausam
ye raaten
ye baaten khoyi khoyi
ye masti
ye shokhi
dil kaise bachaaye koi
oo oo meri adaayen
khaali na jaayen
meri adaayen. . .
khaali na jaayen
jo bhi mujhse aankh milaaye
aahen bhare
o chhalkaana
in nazron ka paimaana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji

khul jaayen
ye zulfen
to mehfil ko mehka den
utth jaayen
ye nazren
to duniya ko behka den
khul jaayen
ye zulfen
to mehfil ko mehka den
utth jaayen
ye nazren
to duniya ko behka den
oo oo kaali ghataayen
jhoom ke aayen
kaali ghataayen. . .
jhoom ke aayen
saawan ki rut
nacche chham chham
aage tere
pehchaana
kyun kaisa hai nishaana
zara tum bhi kaho ji
o deewaana
laaya hai dil nazraana
zara suno suno ji

sarkaa doon
main aanchal
to chanda bhi sharmaaye
kaliyon ka
dil dhadke
phoolon ko paseena aaye
sarkaa doon
main aanchal
to chanda bhi sharmaaye
kaliyon ka
dil dhadke
phoolon ko paseena aaye
ho oo dil mein samaaye
mast banaaye
dil mein samaaye. . .
mast banaaye
honth gulaabi
nain raseele
jaadu bhare
ye maana
tumhaara hai zamaana
zara suno suno ji
o parwaana
kehta hai kya afsaana
zara tum bhi kaho ji
arre deewaana
laaya hai dil nazraana
zara suno suno ji

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

ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी
ओ दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी

ये मौसम
ये रातें
ये बातें खोई खोई
ये मस्ती
ये शोख़ी
दिल कैसे बचाए कोई
ये मौसम
ये रातें
ये बातें खोई खोई
ये मस्ती
ये शोख़ी
दिल कैसे बचाए कोई
ओ ओ मेरी अदाएं
खाली ना जाएँ
मेरी अदाएं॰ ॰ ॰
खाली ना जाएँ
जो भी मुझसे आंख मिलाए
आहें भरे
ओ छलकाना
इन नज़रों का पैमाना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी

खुल जाएँ
ये ज़ुल्फें
तो महफिल को महका दें
उठ जाएँ
ये नज़रें
तो दुनिया को बहका दें
खुल जाएँ
ये ज़ुल्फें
तो महफिल को महका दें
उठ जाएँ
ये नज़रें
तो दुनिया को बहका दें
ओ ओ काली घटाएँ’
झूम के आयें
काली घटाएँ॰ ॰ ॰
झूम के आयें
सावन की रुत
नाचे छम छम
आगे तेरे
पहचाना
क्यों कैसा है निशाना
ज़रा तुम भी कहो जी
ओ दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी

सरका दूँ
मैं आँचल
तो चंदा भी शरमाये
कलियों का
दिल धड़के
फूलों को पसीना आए
सरका दूँ
मैं आँचल
तो चंदा भी शरमाये
कलियों का
दिल धड़के
फूलों को पसीना आए
ओ ओ दिल में समाये
मस्त बनाए
दिल में समाये॰ ॰ ॰
मस्त बनाए
होंठ गुलाबी
नैन रसीले
जादू भरे
ये माना
तुम्हारा है ज़माना
ज़रा सुनो सुनो जी
ओ परवाना
कहता है क्या अफसाना
ज़रा तुम भी कहो जी
अरे दीवाना
लाया है दिल नज़राना
ज़रा सुनो सुनो जी


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

Blog Day :

4304 Post No. : 15570

“Anaarbaala”(1961) was directed by Raja Yagnik for Unity Productions, Bombay. This costume drama movie had Daljeet,, Krishna Kumari, Tiwari, Maruti, Neelofar, Pal Sharma, Babu Raje, Pandit Iqbal, Moni Chatterjee, Kesari, Shree Bhagwan, Jeewan Kala etc in it.

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

Here is the second song from “Anaarbaala”(1961) to appear in the blog. The song is sung by Sudha Malhotra. Ramesh Chandra Pandey is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this “remonstrating with the Almighty” genre of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Duniya banaane waale achcha yahi hota (Anaarbala)(1961) Singer-Sudha Malhotra, Lyrics-Ramesh Chandra Pandey, MD-Bulo C Rani

Lyrics

duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
gar jaante hum tujhko
bhi daulat se pyaar hai
to pyaar ka sansaar humne
sajaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
Bhagwaan tujhe aaj bhi
hargiz na bulaate
aawaaz pe dukhiyon ke
jo aaya nahin hota
duniya banaane waale ae ae
duniya banaane waale
ab raham gareebon ko
banaaya nahin hota
achcha yahi hota


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16400 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) 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.

Total number of songs posts discussed

16426

Number of movies covered in the blog

Movies with all their songs covered =1270
Total Number of movies covered =4462

Total visits so far

  • 14,523,030 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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