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

Posts Tagged ‘Dev Anand


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

Blog Day : 3757 Post No. : 14724

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—————————————————————————————————————————————–

Acknowledgements:

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

Video Clip:

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

Lyrics

ho o o o
tushima aa aa

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

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

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

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

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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 : 3722 Post No. : 14658

Hullo to all in Atuldom

Disclaimer: Thoughts presented in this song are not the thoughts of the author of this post. It is just a tool in the hands of the filmmaker to take the story of the film forward and explain why the central character professes ‘bachelorhood’. Readers are requested to enjoy the song

“Man Pasand” (1980 – censored on 26-6-1980 and released on 11-7-1980) was among the first few movies whose music cassette was purchased by my father along with “Yaarana” when they hit the market. And since then I am a huge fan of their songs. Know almost all of them by heart.

This was a movie produced by Amit Khanna and directed by Basu Chatterji. Rajesh Roshan was the music director and Amit Khanna himself wrote the lyrics. The movie itself was inspired by the famous stage play by George Bernad Shaw – ‘Pygmalion’ (first published in 1913), and also on the hugely popular iconic film ‘My Fair Lady’ (1964 – Rex Harrison and Audrey Hepburn). The movie stars Dev Anand, Tina Munim, Girish Karnad, Simple Kapadia, Leela Mishra and Mehmood.

The movie has Dev Anand and Girish Karnad playing best friends, bachelors and musicologists. They encounter a loud- and foul-mouthed vendor of ‘datun’ (neem branches} in the late-night local trains of Mumbai. Then and there Dev (Pratap) throws a challenge that he can transform the unpolished girl into a graceful and talented singer and Karnad (Kashinath) picks up the bet and agrees to marry the girl if Pratap is successful.

Today’s song happens when Kamli (Tina Munim) walks into the flat of Pratap, to be trained as a singer. That is her only aim and she doesn’t know that the two friends have other plans. Prior to the song Pratap tries to explain to Kashi that no one knows what their “marzi” is, whether it is a man or a woman. But once people get married they start trying to make the spouses dance to their “marzi”. That is the gist of the song.

Let us enjoy this lively Kishore Kumar number today on Dev Anand’s birth anniversary. He would have been 95. Dev Anand who was an entertainer from 1946 to 2011 almost 65 years. Dev Anand who was an actor, producer director. A heart throb of the audiences who loved his smile (crooked teeth notwithstanding) sparkling eyes, scarfs, caps and mufflers and all the things that made up DEV ANAND.

Audio

Video

Song – Manmaani Se Hargiz Na Daro (Man Pasand) (1980) Singer – Kishore Kumar, Lyrics – Amit Khanna, MD – Rajesh Roshan

Lyrics

hmmm
man maani se hargiz na daro,
kabhi shaadi na karo
man maani se hargiz na daro,
kabhi shaadi na karo

marzi hai
arre aaj kahin
baahar khaana khaayen
wo kahengi
nahin sahab theek aath baje
ghar wapas aa jaayen

kitaab liye haath me in
aap chain se baithe hain
memsaab poochengi
kyunji hamse roothe hai

kabhi kisi bhi naari se kar lo
do baatein
wo kahen inhi se hoti hai kya
chhup ke mulaqaaten
aji tauba bewakoofi ki hai shaadi inteha
har aurat apna soche
auron ki nahi parvaah
kyon theek nahin kaha maine
jo ji mein aaye wo karo
kabhi shaadi na karo
man maani se hargiz na daro
kabhi shaadi na karo

zara sochiye
aaram se aap ye
jeewan jee rahe hain
pasand ka kha rahe
pasand ka pi rahe hain
achcha bhala ghar hai aapka
lekin kya karen
aap se juda hai shauk
begum sahab ka
aate hi kahen suniye ji
har cheez ko badlo
pehle parde phir sofa
phir apna huliya badlo
aji maana tanhaai se
kabhi dil ghabraayega
jeewan saathi ki zaroorat
mehsoos karaayega
ha ha
lekin is ghabaraahat me jo shadi kar baithe
wo umr bhar pachhataayega
jeete ji arey bhai na maro
kabhi shadi na karo
man maani se hargiz na daro
kabhi shaadi
ho kabhi shaadi,
haan kabhi shaadi
na baaba na

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

हम्ममम
मन मानी से हरगिज़ न डरो
कभी शादी ना करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

मर्ज़ी है
अरे आज कहीं
बाहर खाना खाएं
वो कहेंगी
नहीं साहब ठीक आठ बजे
घर वापस आ जाएँ

किताब लिए हाथ में
आप चैन से बैठे हैं
मेम साहिब पूछेंगी
क्यों जो हमसे रूठे हैं

कभी किसी भी नारी से कर लो
दो बातें
वो कहें इन्हीं से होती हैं क्या
छुप के मुलाक़ातें
अजी तौबा बेवक़ूफ़ी की हैं शादी इंतेहा
हर औरत अपना सोचे
औरों की नहीं परवाह
क्यों ठीक नहीं कहा मैंने
जो जी में आए वो करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

ज़रा सोचिए
आराम से आप ये
जीवन जी रहे हैं
पसंद का खा रहे हैं
पसंद का पी रहे
अच्छा भला घर है आपका
लेकिन क्या करें
आप से जुदा है शौक
बेगम साहब का
आते ही कहें सुनिए जी
हर चीज़ को बदलो
पहले पर्दे फिर सोफा
फिर अपना हुलिया बदलो
अजी माना तन्हाइ से
कभी दिल घबराएगा
जीवन साथी की ज़रूरत
महसूस कराएगा
हा हा
लेकिन इस घबराहट में जो शादी कर बैठे
वो उमर भर पछताएगा
जीते जी अरे भाई न मरो
कभी शादी
हो कभी शादी
हाँ कभी शादी
ना बाबा ना


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 : 3695 Post No. : 14611

In the 1930s and in early 1940s, most of the music directors compose mainly raag-based and folk-based tunes to the lyrics.  The musicians would play the entire melody on their respective instruments in line with the tune. Since, in the absence of playback singing, songs would be recorded live, music directors were constrained to use minimum musical instruments, that too mostly within the options of Indian instruments consisting of harmonium, percussion, tabla/dholak, sitar, saarangi, flute etc.

Once the playback singing system stabilised in around late 1930s, music directors got flexibility in using more musicians and also started using western musical instruments such as piano, guitar, violin, mandolin, trumpet, clarinet etc. This gave them flexibility in composing preludes, interludes and orchestration. Anil Biswas who came to Bombay (Mumbai) sometime in 1935 with 12 of his Anglo-Indian musicians, changed the concept of orchestration of the songs. He was the first to use counter melody in orchestration. Probably, he was also the first music director of Hindi films who composed a song, Hum Aur Tum Aur Ye Khushi  based on waltz music (generally used for ball-room dance), for the film ‘Alibaba’ (1940). Anil Biswas could do it because he had in his orchestra, musicians well-versed in playing western music instruments.

There were perceptible changes in the style of song compositions in Hindi films of 1950s and 60s (also thereafter) as compared with those of 1940s. Songs of 1950s and 60s were not only melodic but their musical preludes, interludes and overall orchestrations appealed to the listeners. How did the Hindi film music witness musical metamorphosis in 1950s and 60s? The answer is that during this period, some of the Christian musicians and music arrangers from Goa played a pivotal role in taking the Hindi film music from the vintage era ( 1931-1947) to the golden era (1948-1980).

To understand as to how the Christian musicians from Goa got connected with Hindi film industry, one needs to go back to the history of Goa. After the annexation of Goa by Portuguese in the 16th century, they established churches, chapels and convents in their captured territories. As part of church services, there was a need to establish choirs – a group of singers accompanied by musicians. The locals who were converted in to Christianity were trained to sing and play western instruments such as organ and violin. The services of these trained singers and musicians were also utilised for the occasions such as weddings, community feasts and funerals. Over a period of time, with the regular exchange of people from other Portuguese territories such as Angola and Mozambique, these musicians learnt some more western instruments such as piano, trumpet, saxophone, guitar, clarinet etc.

The Portuguese did not do much to the education system. Nor did they provide employment opportunity to the locals. As against this, Goans found employment opportunity in British India especially at Mumbai, the nearest city for Goans. For those who had learnt music, Mumbai provided them opportunity to become musicians in the night clubs which were patronised by the higher strata of the societies.

During the World War II (1939-45), there were shortages of musicians in the night clubs as many foreign musicians especially from Germany and its allied countries either left India or they were arrested. The Goan musicians with their affinity to jazz music filled the vacancies. Also, the British and its allied troops which were stationed in major cities like Bombay, required night clubs as a source of entertainment.

During the late 30s and early 40s, many Goan musicians migrated mainly to Mumbai. Some of the well-known Goan musicians like Antony Gonsalves, Chic Chocolate, Sebastian D’Souza (came to Mumbai via Lahore), Frank Fernand, Chris Perry, Sonny Castelino, Lucilla Pacheco migrated to Mumbai. I guess that none of these musicians would have remotely thought of joining the Hindi film industry at the time of their migration. Generally, for musicians trained in western classical music, their intention will be to join a music band, earn a name and have their own music band.

Except Antony Gonsalves, all others mentioned above, had joined the dance bands as musicians. Those days, there was a craze for jazz music  and all these dance bands would mostly play jazz music in Taj Mahal Hotel, Green Hotel (run by Taj Mahal), Astoria Hotel, Ambassador Hotel, Ritz Hotel, Bristol Grill, Mocambo etc. During my way to college in Churchgate in early 1960s, I used to see displays outside some of these hotels and restaurants showing the names of the dance bands with prominent musicians schedule for the performance in the night. Perhaps, I may have read the names like Chic Chocolate, Frank Fernand and Chris Perry but without knowing at that time that they were associated with Hindi film music.

How some of these Goan musicians did get connected with Hindi film industry in the latter half of the 1940s is not clear. Probably, some of the music directors like Anil Biswas, C Ramchandra, Khemchand Prakash, Naushad either individually or collectively may have visited the night clubs to witness the performance of the dance bands. They would have been impressed by the harmonic presentation by musicians with foot tapping music. They saw the opportunity to use in Hindi film songs  by way of prelude and interlude orchestra which would appeal to the listeners.

But how to achieve the synergy of harmonic orchestra to the tune in melodic form in Hindi film songs? The uses of a large number of western musical instruments for orchestra which need to be played in harmony require a music composer (in Hindi film parlance, a music arranger) who can write music for each musician and for each instrument in the orchestra who may play the instruments in different notes. Goans with their training in Western classical music from their days in church choirs to dance bands were well versed to do the job of writing the music.

During the late 1940s, Goan musicians and music arrangers worked in Bombay film industry during the day time to supplement their income while the main source of their income continued to be from the dance bands. Sometime in early 1950s, the then Bombay State introduced prohibition and raised entertainment tax which affected the business of night clubs. Some of the Goan musicians had to become full time musicians and music arrangers in Bombay film industry while working with dance bands became a part time job.

Among the many Goan musicians, Antony Gonsalves, Frank Fernand, Sebastian D’Souza and Chic Chocolate have been the major music arrangers for the Hindi film music during 1950 to 1975. I guess, these four music arrangers may have been associated with about 90 per cent of the Hindi film songs during 1950-75.

All these four music arrangers have contributed so much to the Hindi film music that each one merits a full article. This will have to wait for some other time. In the meanwhile, I present below a brief sketch of the musical career of each one of them.

Antony Gonsalves (12/06/1927 – 18/01/2012) mostly worked as a free-lance music arranger due to the fact that he also played violin for almost all the top music directors. He started as a musician playing mainly violin with Naushad in 1943. He got his first assignment as music arranger with Shyam Sundar in Dholak (1951). His orchestration in Mausam Aaya Hai Rangeen is worth listening. He had also done orchestration for Hum Aapki Aankhon Mein  in ‘Pyaasa’ (1957) during which he also played violin. During his active filmy career between 1950-1965, he is said to have been associated in more than 1000 songs.

Antony Gonsalves taught violin to Pyarelal (of Laxmikant-Pyarelal) and RD Burman for 4 years. He had also become a keen follower of Hindustani classical music. In fact, in 1958, he had 110 musicians in his raag-based symphony orchestra playing his composition in various Indian raags blended with western music, a thing which is very common in the present generation. Unfortunately, his experiment did not click with the audience.  But his work was noticed at the international level.

Antony Gonsalves cut short his filmy career in 1965 and went to USA on an invitation from Syracuse University, New York. He remained in the USA for 10 years after which he returned to India and settled in his village Mojorda in Goa in seclusion during the rest of his life keeping away from the Hindi film industry.

An interesting trivia here – in the iconic song tuned by Laxmikant Pyaarelal – “My Name Is Anthony Gonsalves“, L-P have said that they used this name of their ‘teacher’, as a mark of honour for him.

Frank Fernand (03/05/1919 – 01/04/2007) worked as a music arranger mainly with Hemant Kumar, Ravi, Kalyanji Anandji though he also worked with other music directors. He migrated to Mumbai  in 1936 to join one of the dance bands. He got his first break as a music arranger in ‘Barsaat’ (1949) and also played trumpet and violin in some songs. During his career as musician/music arrangers, he is said to be associated with about 70 Hindi films. Frank Fernand’s work can be judged from Dil Deke Dekho Dil Deke Dekho, Baar Baar Dekho Hazaar Baar Dekho and Aage Bhi Jaane Na Tu  among his other works.

Sometime in the 60s, Frank Fernando ventured in to producing Konkani films and thereafter a couple of Hindi films in the 1970s. While his Konkani films earned him money, his first Hindi film ‘Priya’ (1970) was a box office failure while the second film ‘Aahat’ (1974) could be released only in 2010 after his death. In 1985, Frank Fernand was afflicted with Parkinson’s disease which kept him in the confine of his house in Bandra.

Sebastian D’Souza (29/01/1906 – 09/03/1996) was a dance band leader in early 1940s in a hotel in Lahore. During his Lahore days, he is said to have worked for Shyam Sundar and Ghulam Haider. After partition, he came to Mumbai. His first film as music arranger was with OP Nayyar in ‘Aasman’ (1952). His association with Shanker-Jaikishan started with ‘Daagh’ (1952) which continued uninterrupted till 1975.  With his attachment with OP Nayyar, Shankar-Jaikishan and occasionally with Salil Chaudhary, his outside assignments as music arrangers were few.

One can notice the ingenuity of Sebastian D’Souza’s in music arrangements in that despite working with OP Nayyar and Shankar-Jaikishan for a long time, his orchestrations retained the individual  stamps of these music directors in their respective songs. That Sebastian D’Souza could work with a temperamental music director like OP Nayyar for a long time speaks volume about his talent and of his mild nature.

It is said that Sebastian D’Souza’s counter-melody in orchestration was so good that  Jaikishan used some of his counter-melodies as  tunes for the songs. I am sure that in ‘Madhumati’ (1958), Salil Choudhary must have been impressed by Sebastian’s counter-melody in Aaja Re Pardesi and used it as a mukhda tune for Ghadi Ghadi Mora Dil Dhadke. Sebastian’s great work can be felt in almost all songs of S-J and OPN. However, the one song which I am very fond of because of orchestration is Poochho Na Hamen Hum Un Ke Liye from ‘Mitti Mein Sona’ (1960). The piano in this song was played by a Goan musician, Sunny Castellino who was a music arranger for ‘Aawaara’ (1951).

During his filmy career, Sebsatian D’Souza arranged music for about 125 films with around 1000 songs. He retired from film industry in 1975.

Merlyn D’Souza, daughter-in-law of Sebastian D’Souza has been continuing his musical tradition. She works as a music producer, music arranger and sometime as music director – both in films and theatres. In the music industry, she is often referred to as ‘Female AR Rahman’ due to her work in fusion music.

Chic Chocolate (real name : Antonio Xavier Vaz, 1916-1967) came to Mumbai in in the late 30s to become a lead jazz trumpeter in a dance band. His idol was Louis Armstrong, the American jazz trumpeter. Interestingly, he even looked like Louis Armstrong. Soon he became one of the best trumpeters in Mumbai’s jazz music scene. By the end of the World War-II, Chic Chocolate had already formed his dance band named ‘Chic & His Music Makers and had become one of the leading dance bands in Mumbai.

It is not clear as to when he started working for Hindi films. His earliest connection to Hindi film industry as a music arranger points to the film ‘Samaadhi’ (1950) in which he collaborated with C Ramchandra, The song  Gore Gore O Baanke Chhore which has jazzy music, brought him to the attention of Hindi film industry. His music arrangements in all the songs of  ‘Albela’ (1951) was a high point of his career as music arranger. I think, in this film, Chic Chocolate poured all his experience in Jazz music in such an extent that the songs which became a new category of songs with Indo-Jazz music.

In  Deewaana, Ye Parwaana, one can see Chic Chocolate playing trumpet with the musicians from his dance band ‘Chic & His Music Makers’. Because of runaway success of ‘Albela’ (1951), his dance band became more famous. He also adopted for his dance band the uniform that was used for his band in this song.

He mostly worked with C Ramchandra in the 1950s though he had also worked with other music directors. Take for instance, his music arrangements in the song, Ae Dil Mujhe Bata De in ‘Bhai-Bhai’ (1956) and Rut Jawaan Jawaan  in ‘Aakhri Khat’ (1966) in which he is seen playing trumpet.

With ‘Naadaan’ (1951), Chic Chocolate donned the hat of music director for the first time. This was followed by ‘Rangeeli’ (1952) and ‘Kar Bhala’ (1956).

Chic Chocolate passed away in May 1967 shortly after the release of ‘Aakhri Khat’ (1966). His son Erwell Vaz is a drummer.

Hindi film music is the work of so many creative artists, musicians and music arrangers. I guess, in the 50s and 60s, music arrangers must have spent more man-hours for arranging music than the music directors for whom they worked. Unfortunately, in film and music industry, it is mainly the singers and music directors who get the credit. However, in the recent period, names of at least lead musicians and music arrangers are mentioned in the credit titles of many of the films as well as the covers of CDs.

Today, I present the 7th song (out of 8 songs, including two multiple version songs)  from the film ‘Naadaan’ (1951) for which Chic Chocolate got his first opportunity to set the tune to the songs in addition to the music arrangements. The song is ‘Saari Duniya Ko Peechhe Chhod Kar’ sung by Lata Mangeshkar. The song was written by PL Santoshi.

The tune of the song has a distinct style of C Ramchandra who was credited as Music Supervisor. Surprisingly, none of the 8 songs in the film has jazz flavours. This is not to undermine the overall contributions of Chic Chocolate in the songs of the film. It is worth mentioning in this context that Chic Chocolate had composed many jazz songs for his dance band in the 40s. There are at least six 78 rpm gramophone records which bear the name of Chic Chocolate as the music composer.

The song under discussion appears to be a dream sequence going by the sets used in the picturisation of the song.

Acknowledgements:

  1. Naresh Fernandes – Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age (2012)
  2. Gumnaam Hai Koi – The Untold Story of Music Arrangers and Musicians : Part-I & II – Rajya Sabha TV (2015)

 

(Video)

(Audio)

Song – Saari Duniya Ko Peechhe Chhod Kar (Nadaan) (1951) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – Chic Choclate

Lyrics

saari duniya ko peechhe chhod  kar
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
 
chalo khelenge saajna aankh micholi
o o o
o o
o o
chalo khelenge saajna aankh micholi
bhar len sitaaron se hum apni jholi
bhar len sitaaron se hum apni jholi
chaand chhup chhup ke karta ishaare
kitne dilkash hain ye sab nazaare
hain ye sab nazaare
hum ek nai duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
 
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaa  aaa 
aa aa
aa aa aa aa
aa aa
aa aa aa
la la la la la
la la la la la
la la
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaj harsoo hai
aaj harsoo hai mousam khushi kaa
luft aayega ab zindagi kaa
ab zindagi kaa
hum nazaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar 

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

सारी दुनिया को पीछे छोड़ कर
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

चलो खेलेंगे साजना आँख मिचौली
ओ ओ ओ
ओ ओ
ओ ओ
चलो खेलेंगे साजना आँख मिचौली
भर लें सितारों से हम अपनी झोली
भर लें सितारों से हम अपनी झोली
चाँद छुप छुप के करता इशारे
कितने दिलकश हैं ये सब नज़ारे
हैं ये सब नज़ारे
हम एक नई दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आss आss
आ आ
आ आ आ आ
आ आ
आ आ आ
ल ल ल ल ला
ल ल ल ल ला
ला ला
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आज हरसू है
आज हरसू है मौसम खुशी का
लुत्फ आएगा अब ज़िंदगी का
अब ज़िंदगी का
हम नज़ारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर


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 : 3501 Post No. : 14067

“Heera Panna”(1973) was produced and directed by Dev Anand for Navketan Internationa Films Private Limited, Bombay. This “social” movie had Dev Anand, Zeenat Aman, Dheeraj, Rehman, Jeewan, Paintal, Rakhi (special appearance), Sudhir, Manmohan, Shaam Kumar, Maruti, A K Hangal, Neelam, Sheetal, Dilip Dutt, Kirti Kumar, Mac Mohan, Rajrani, Madhup Sharma, Dhanna, Mohammad Ali, Chhura etc in it.

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

Song Title

Post No.

Post Date

Heera ki tamanna hai ke panna mujhe mil jaaye 770 19-Feb-09
Bahut door mujhe chale jaana hai 6726 26-Sep-12
Ek paheli hai tu 13786 3-Dec-17

Here is the fourth and final song from “Heera Panna”(1973) to appear in the blog. This song is sung by Kishore Kumar. Anand Bakshi is the lyricist. Music is composed by R D Burman.

The song is picturised on Dev Anand and Zeenat Aman. In the song, Dev Saab is seen posing as a fashion photographer who claims to get skimpily clad females to pose for him. 🙂 I do not think too many moviegoers were convinced when the movie was released. Dev Saab and Rahman made their debuts together in the same movie in 1946 in “Ham Sab Ek Hain”. But we find Rahman playing a middle aged man in “Heera Panna”(1973) while Dev Saab kept insisting on playing half his age, looking as unconvincing as one can be. 🙂

The very first song of the movie, viz the theme song was the most popular song from the movie as far as I was concerned. I remember all the songs from the movie though I suspect that these songs have become rather less known songs by now.

With this song, “Heera Panna”(1973) joins the list of movies that have all their songs covered in the blog.


Song-Main tasweer utaartaa hoon (Heera Panna)(1973) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

haan
zara hans ke
zara aur khhilkhhilaa ke
steady please

main tasveer utaartaa hoon
bikhri hui haseenon ki
zulfen sanvaartaa hoon
phir zulfon ke saaye mein
main raaten guzaartaa hoon
haaye
main tasveer utaartaa hoon
bikhri hui haseenon ki
zulfen sanvaartaa hoon
phir zulfon ke saaye mein
main raate guzaartaa hoon

koi haseenaa kitni bhi magroor ho
husn ki duniya mein kitni mashhoor ho
koi haseenaa kitni bhi magroor ho
husn ki duniya mein kitni mashhoor ho
masti mein choor ho
paas ho ke door ho
arre masti mein choor ho
paas ho ke door ho
daudi chali aati hai
main jisko pukaartaa hoon
main tasveer utaartaa hoon

chaand ki bhi na padi jinpe kiran
maine dekhe un haseenon ke badan
chaand ki bhi na padi jinpe kiran
maine dekhe un haseenon ke badan
meraa aisa hai chalan
jaane jaan o jaaneman
tod ke saare parde
main sabko nihaartaa hoon
main tasveer utaartaa hoon
haay bikhri hui haseenon ki
zulfen sanwaartaa hoon
phir zulfon ke saaye mein
main raaten guzaartaa hoon

thhak ke saahil pe samandar so gayaa
yaad teri aa gayi
main kho gayaa
thhak ke saahil pe samandar so gayaa
yaad teri aa gayi
main kho gayaa
ye gayaa
main wo gayaa
ye mujhe
kya ho gayaa
ye gayaa
main wo gayaa
ye mujhe kya ho gayaa
naam tera leta hoon
main jisko pukaartaa hoon


This article is written by Satyajit Rajurkar, 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. : 14025

Joshila is a 1973 Bollywood thriller film directed by Yash Chopra. The film stars Dev Anand, Raakhee, Hema Malini, Pran, Bindu, Madan Puri, Manmohan Krishna, Padma Khanna, A. K. Hangal, Sulochana Latkar, Sudhir, Hercules, Master Satyajeet, I. S. Johar, Vikas Anand, Roopesh Kumar, Iftekhar, Jagdish Raj and Mahendra Sandhu.

Joshila was directed by Yash Chopra, produced by Gulshan Rai for Trimurti Films, written by Akhtar ul-Iman, Akhtar Mirza, Gulshan Nanda and C. J. Pavri, cinematography by Fali Mistry, edited by Pran Mehra and was released on the 19th of October 1973. The playback was by Asha Bhosle, Kishore Kumar, Lata Mangeshkar and Dev Anand, lyrics were by Sahir Ludhianvi and the composer was R D Burman.

The storyline (according to IMDB) is:

Jailor Manmohan Krishan is responsible for looking after convicts undergoing sentences of rigorous imprisonment. He has a young, beautiful and captive daughter named Shalini. Shalini is a poet, one day while reciting her poetry, she meets with a young man, who introduces himself as Amar, who also happens to be a poet himself. The two of them spend beautiful moments together and finds themselves attracted to each other. Shalini wants to find out why Amar is in jail. She is told in no uncertain terms that Amar is in jail for murder – for killing the brother of his former lover, Sapna. She also found out that this is not true and would strive to the best of her merit to get Amar release from jail because she is in love with him and would like to marry him.

In this song, Padma Khanna lip syncs and dances with a male counterpart (unidentified) to “Kaanp Rahi Main” in Joshila 1973 sung by Asha Bhonsle, penned by Sahir Ludhianvi and composed by Rahul Dev Burman,

There were eight songs in the movie, of which four have been covered earlier in this blog. This is the fifth song to be posted.


Song-Kaanp rahi main (Josheela)(1973) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-R D Burman

Lyrics

Aaaaaaa

Kaanp rahi main
Abhi zara thham jaanam
Baaki hai ae ae
raat abhi
Haanf rahi main
Le loon zara dum jaanam
Na kar ye ae
baat abhi

Toone ae
O re mere jaani
Jo hai jee mein thhaani
Us’se daroon main
daroon main
daroon main
Tu jo
Paass mere aaye
Jaan meri jaaye
Aahen bharoon main
Th Th Tha Tara tara th ra
Th Th Tha Tara tara th ra
Aaaaaaaa
Jaane de re
Rok zara
haath abhi
Kaanp rahi main
Abhi zara thham jaanam
Baaqi hai ae
raat abhi
Haanf rahi main
Le loon zara dum jaanam
Na kar ye ae
baat abhi

Abhi ee ee
Gul hai diye saare
Paass aaja pyaare ae
Ban ja deewaana
deewaana
Zarra mast main bhi ho loon
Toh ye tujhe boloon
Tu hai nishaana
Th Th Tha Tara tara th ra
Aaaaaaaa
Main bhi hoon
Tu bhi hai
saath abhi
Kaanp rahi main
Abhi zara thham jaanam
Baaki hai ae
raat abhi
Haanf rahi main
Le loon zara dum jaanam
Na kar ye ae
baat abhi
Kaanp rahi main
Kaanp rahi main


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

Blog Day : 3474 Post No. : 13953

The film ‘Tere Mere Sapne’ is an intense personal favorite, as are many of Vijay Anand’s films. This film is a very sensitive, rational and balanced view of the healthcare systems in our country, especially in the rural areas. Of course, the time frame is of 1960s (the film released in 1971). The medical profession and healthcare systems have seen unbelievable transformations, especially the brazen and vulgar commercialization of this profession, that was once considered a hallowed service of the people. But maybe more of that later.

I like this film, in all its aspects. I know when this film was released, there were many articles in magazines and newspapers, trying to find and point out technical and medical faults with the film’s many medical scenarios. It was like pointing out the defects in a mango, that one is no doubt enjoying, but still complaining that the skin of the mango is too thick or too thin. 🙂 My counter to this discussion was – please, hold on, this is a film, a dramatization of human situations. The director is trying to tell a story, about a very important profession in the society, attempting to exhibit certain ground realities, and also trying to suggest some approaches. It is not a treatise on anatomy or cardiology, that should be scientifically perfect, but does not tell a story.

In my humble opinion, all aspects of this film are very creditable – be it the storyline development, be it the dialogues and dialogue delivery, be it the performances by individual actors – no matter what is the time that character spends on the screen, be it the pace at which the tale progresses, be it the subtle and overt messages it intends to present, or be it the music and the songs – each one of them being a gem status song. I am sure the readers are familiar with the many songs of this film, and they will agree to this statement. Neeeraj, the poet, and Sachin Da (SD Burman) have collaborated to create and bring a set of such beautiful and meaningful songs. And when one tops that with Vijay Anand’s handling of the song picturization scenarios, it is like ‘सोने पे सुहागा’.

Let us take today’s song for example. This is the penultimate song of this film to be posted (and yes, we should be on the lookout for a Yippeee call for this film, very shortly 🙂 ). The story revolves around a small town, and the small hospital this town has. The senior doctor in this hospital (role played by Mahesh Kaul), who founded this hospital, is in the evening of his life. He is part paralyzed, and not fully capable to handle his duties as the Chief Medical Officer. His wife (role played by Paro), on the other hand, rules the hospital with an iron hand, and does not allow the inability of her husband to manage the setup, to be exposed to the outside world or to the regulatory authorities. Another senior doctor in the hospital is Dr Kothari (role played by Vijay Anand), who has given up his battle with the complexities of life, and is drowning himself in drink, in the anonymity of this small out of the place village. Into this scenario steps in Dr Anand (role played by Dev Anand). A recent graduate, he is fresh young mind with hallowed dreams of serving the poor people.

The situation for the song is that an elderly couple in the village (roles played by Sapru and Dulari), very hesitatingly and bashfully announce to the doctors at the hospital that they are on way to the first child in their lives. There is happiness and good news scenario, punctuated by the sad news that the child, when born, is not breathing. Dr Kothari, the gaynecologist, is drunk and out cold, not in a position to even wake up. Dr Anand saves the day, and brings the child back into the living world, by attempting to and cleaning his windpipe which was blocking the child’s breathing. It is a day of salvation and new life for this old couple. Of course, celebration has to follow.

So the family has a celebration at their home, and this song, a dance by Jaishree T, is part of that celebration. Dr Anand is present, along with other invitees from around the village. Also present is Nisha (role played by Mumtaz) a school teacher in the local school. Of course, the amorous developments have already taken place between the new young doctor and this pretty school teacher. It is a match made in heavens, as they say. OK, but the rest of the story at another time. 😉

As with everything else in this film, even this dance is such an exquisite piece of performance. As I said earlier, in the hands of a master director like Vijay Anand – it has to be so. The performance is nothing short of a full blown onslaught on the senses, that it does not leave anytime for the viewer to breathe. The pace of music is so fast. The lyrics and words are tumbling right on top of each other. Neeraj has knitted together the words that catch you trying to keep pace with understanding them while hearing the next line. Burman Da’s melody, no matter is delivered at Presto speed, and one has to be very alert to keep pace with the music, still comes out to be an exquisite song delivery.

And the performance by Jaishree T – probably the best I have seen from her. The choreographer, Hiralal, has done a real great job in conceptualizing this dance. You may watch it more than once to check – no movements are repeated, even if the lines are being repeated. The dance goes from one breathless set of movements to the next, without a respite. The three minutes and some seconds performance just leaves one breathless, trying to keep pace with the words, the melody, the dancers movements, the dancers expressions – everything so perfectly blended together into a swirl of a pleasurable whirlwind experience. Just watch when Jaishree T dances and moves to the line – ‘sheeshi hoon kewde ke paani’. Or for that matter, just pick any line, and each line is expressed through her movements so exquisitely.

The performance and the words of the song, also work to further develop, whatever it is that is developing between the young doctor and the pretty schoolteacher, for one can catch them exchanging furtive glances as the performance progresses.

A lovely song, a fantastic performance, that I for one, simply am not tired watching it again and again. View, and enjoy, this onslaught on the senses. Exquisite performance all around.

 

Song – Mera Saajan Phool Kamal Ka, Kali Main Raat Rani Ki  (Tere Mere Sapne) (1971) Singer – Asha Bhosler, Lyrics – Neeraj, MD – SD Burman

Lyrics

mera saajan
o mera saajan phool kamal ka
kali main raat rani ki
raat ki rani chameli ki khushboo
sheeshi hoon kewde ke paani
kali main raat rani ki
mera saajan phool kamal ka
kali main raat rani ki

meri najaakat
hai lakhnauwa
choodi hai meri ajmer ki
choli silaai maine
dilli mein jaa ke
saari hai pehni chander ki
meri najaakat
hai lakhnauwa
choodi hai meri ajmer ki
choli silaai maine
dilli mein jaa ke
saari hai pehni chander ki
ras ki pyaali phoolon ki daali
laali main joban jawaani
kali main raat rani ki
mera saajan phool kamal ka
kali main raat rani ki
mera saajan
mera saajan phool kamal ka
kali main raat rani ki

haaye
simmi jaisi raja
naak hamaari
saayera baanu jaisi chaal re
nakhre mere mumtaaj jaise
sadhna jaise mere baal re
simmi jaisi raja
naak hamaari
saayera baanu jaisi chaal re
nakhre mere mumtaaj jaise
sadhna jaise mere baal re
sone ki chidia
aafat ki pudia
gudia hoon main japaani
kali main raat rani ki
mera saajan
ho mera saajan phool kamal ka
kali main raat rani ki
raat ki rani chameli ki khushboo
sheeshi hoon kewde ke paani
kali main raat rani ki
mera saajan phool kamal ka
kali main raat rani ki

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

मेरा साजन
ओ मेरा साजन फूल कमल का
कली मैं रात रानी की
रात की रानी चमेली की खुशबू
शीशी हूँ केवड़े के पानी
कली मैं रात रानी की
मेरा साजन फूल कमल का
कली मैं रात रानी की

मेरी नजाकत
है लक्खनन्व्वा
चूड़ी है मेरी अजमेर की
चोली सिलाई मैंने
दिल्ली में जा कर
साड़ी है पहनी चंदेर की
मेरी नजाकत
है लक्खनन्व्वा
चूड़ी है मेरी अजमेर की
चोली सिलाई मैंने
दिल्ली में जा कर
साड़ी है पहनी चंदेर की
रस की प्याली फूलों की डाली
लाली मैं जोबन जवानी
कली मैं रात रानी की
मेरा साजन फूल कमल का
कली मैं रात रानी की
मेरा साजन
मेरा साजन फूल कमल का
कली मैं रात रानी की

हाए
सिम्मी जैसी राजा
नाक हमारी
सायेरा बानू जैसी चाल रे
नखरे मेरे ममताज़ जैसे
साधना जैसे मेरे बाल रे
सिम्मी जैसी राजा
नाक हमारी
सायेरा बानू जैसी चाल रे
नखरे मेरे ममताज़ जैसे
साधना जैसे मेरे बाल रे
सोने की चिड़िया
आफ़त की पुड़िया
गुड़िया हूँ मैं जापानी
कली मैं रात रानी की
मेरा साजन
हो मेरा साजन फूल कमल का
कली मैं रात रानी की
रात की रानी चमेली की खुशबू
शीशी हूँ केवड़े के पानी
कली मैं रात रानी की
मेरा साजन फूल कमल का
कली मैं रात रानी की


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

Blog Day : 3457 Post No. : 13870

 

phoolon ke rang se
dil ki kalam se
tujh ko likhi roz paati

Nirantar Neeraj’ – the name of a stage program that has been created by the Ibaadat group, on the life and works of this distinguished poet of this sub continent. [Ed Note: Ibaadat Foundation (www.ibaadatindia.org) is a non-profit group of lovers of poetry and film music, who conduct regular stage shows in various cities. Each of their programs is focused on an eminent poet. ‘Nirantar Neeraj’ was first staged in Delhi, in September 2014.] When I read the title of the, it enamoured me so much. A feeling of profundity follows the sound of this title.

Gopaldas Saxena ‘Neeraj’, turns 92 today. We all wish for him continued – ‘nirantar’ – time of good health, comfort and above all, creative passions.

Neeraj has had a patchy relationship with the Hindi film industry. But despite that, the gems that have come from this partnership are simply too great to be overlooked. He made his debut in the film world with the film ‘Nai Umar Ki Nai Fasal’ (1965). The director of this film, R Chandra, an earlier acquaintance of Neeraj, was highly influenced by his famous poem “Kaarwan Guzar Gaya Gubaar Dekhte Rahe”. His vision for the film was to present the essence of this poem as the theme of the film. How successful he was in translating this theme into the film is a matter of judgment. The film did not do well at the box office. However, its songs went on to become very famous and popular – “Dekhti Hi Raho Aaj Darpan Na Tum”, “Aaj Ki Raat Badi Shokh Badi Natkhat Hai”, “Mero Saiyyaan Gulabia Ko Phool”, and of course the theme song.

In terms of timeline, his first songs appeared in the film ‘Cha Cha Cha’ which was released in 1964. The two songs in the voice of Rafi Sb, and composed by Iqbal Qureshi, have stood the test of time – “Subah Na Aayi, Shaam Na Aayi” and “Wo Hum Na The Wo Tum Na The”. Till this day, when these song are heard, one is struck by the sheer poetic content.

In 1965, came another film which, by industry standards, also did not do too well on the box office. However, its song – well that is another story. The film is “Tu Hi Meri Zindagi” – a film about Goa’s struggle for independence from Portuguese rule. The film has not stayed in the collective memory of the filmgoers. Maybe, the songs even were not very popular. But the songs, created in partnership with the music director Rono Deb Mukherjee, themselves are a shining gems, each one of them. Listen to “Ye Kaun Thak Ke So Raha Hai Gulmohar Ki Chhaon Mein”; or “Mere Watan Ka Hai Tu Wo Ratan” (happy version); or “Aadam Ka Lahu”; or “Mere Himaalay Ke Paasbaanon”.

Coming to work with Shankar Jaikishan for the film ‘Kanyadaan’ (1968), the initial working relationship was quite ‘explosive’, especially with Shankar. S-J requested for a love song, and Neeraj returned to them with a poem that spanned three handwritten pages. Shankar was ‘snappy’, but then decided to work with the poet. A very hard give and take had to happen to convert this poem into a film song of three minutes. But the end result of this was the fabulous love song that broke all broadcasting records in that year – “Likhe Jo Khat Tujhe. . .”.

Neeraj used to teach at the Dharam Samaj College in Aligarh. In 1970, he got an invitation from Dev Anand to come to Bombay and stay for a week at his expenses. Dev Anand was preparing for ‘Prem Pujari’ (1970). SD Burman was very cautious, and not confident that Neeraj would assimilate well into his music, with predefined situations and pre-prepared tunes. When Neeraj arrived in Bombay, Dev Sb immediately took him to meet Burmam Da. Dada already had a tune in mind, and wanted lyrics set to the tune and the situation. He explained that a girl sees her beau at a party in the company of another lady, and the circumstances are such that the beau is not recognizing her. The song should be of a complaint, frustration, depression, sarcasm – all this Burman Da piled on to Neeraj. So much that even Neeraj himself became hesitant and unsure. To top it, Burman Da also informed that the song has to start with the words “Rangeela Re”. Neeraj returned from the meeting, not sure about his own nerve. He mentioned this to Dev, and Dev said, you have a week to make it happen. If it does not happen, then no problem, you are still my guest for a week in Bombay.

In his hotel room, Neeraj worked the night, and next morning met again with Dev Anand to tell him he has something he would like to show to Burman Da. They immediately drove down to the latter’s residence. Neeraj handed him the paper with the lyrics he had written for the tune and for the situation. One look at the lyrics, and Burman Da said to Dev Anand – you may leave now, the two of us have work to do.

This started a partnership that Neeraj says he really enjoyed in the industry. After ‘Prem Pujari’ they went on to work together on such memorable films as ‘Gambler’ (1971), ‘Sharmeeli’ (1971), ‘Tere Mere Sapne’ (1971) and ‘Chhupa Rustom’ (1973). A scan through the song lists of these films is enough to send a shiver down the spine.

The other close partnership that he enjoyed working with was Shankar Jaikishan. After ‘Kanyadaan’, their partnership continued with ‘Duniya’ (1968) – “Ye Dharti Hindustan Ki”; ‘Chanda Aur Bijli’ (1969) – “Kaal Ka Pahiya Ghoome Bhaiya”; ‘Mera Naam Joker’ (1970) – “Ae Bhai Zara Dekh Ke Chalo” (1970); ‘Pehchaan’ (1970) – “Bas Yahi Apradh Main Har Baar Karta Hoon”; ‘Umang’ (1970); ‘Ek Naari Ek Brahmchari” (1971); ‘Kal Aaj Aur Kal’ (1971) – “Tik Tik. . . Chalti Jaaye Ghadi”; ‘Laal Pathar’ (1971) – “Sooni Sooni Saans Ki Sitar Par”; ‘Patanga’ (1971) – “Jhoom Ke Ga Yun Aaj Mere Dil”; and some more.
There is an interesting note that Neeraj shares about the song “Ae Bhai. . .”. When this song was presented to S-J, Shankar’s mood was sitched off – such bland and blank verses, he could not get himself to compose a tune for this song. The song finally turned out after Neeraj and Shankar both worked together for the composition.

Working closely with some of the best and the most successful music directors in the industry, turned out to be both a blessing and a curse. Blessing that we see a heady proliferation of magical songs created by Neeraj together with these music directors, in the period from 1965 to about 1972. And then there is a tapering down of this creative streak. In Neeraj’s own words, he got caught in a cycle of near depression, when in quick succession his music director partners departed – first Roshan in 1967, then Jaikishan in 1971 and finally SD Burman in 1973. These departures created a vacuum in his life that was depressing enough for him to pack his bags and move back to Aligarh and to academics.

He continued to work sporadically, but not many people from Bombay called upon him any more. Dev Anand and Vijay Anand were the only film persona who continued to call upon Neeraj to pen songs for them. Neeraj was associated with Dev and Navketan right till the film ‘Chargesheet’ which released in 2011, and Dev Anand playing the lead at 82. 🙂

At 92, Neeraj currently is the chancellor of the Mangalayatan University in Aligarh. At 92, he has health limitations. But the poet in him is still very active. A recent couplet from him

ab to mazhab bhi koi chalaaya jaaye
ke insaan ko insaan banaaya jaaye
aag behti hai ganga mein jehlum mein bhi
tum bataao kahaan jaa ke nahaaya jaaye

For today’s song I turn to the film ‘Tere Mere Sapne’ from 1971. This song is a light hearted dance song which is performed by Hema Malini on the screen, inside the screen that we watch. Meaning that the situation is the Dev Anand and Mumtaz are on a ‘date’ at a village ‘mela’ (i.e. before they are married in the film), and they get into a tent cinema to watch a film. And this song is playing in the film that they are watching. So this maybe a unique situation wherein a complete song is performed on the screen that is being watched by the actors we are watching on our screen.

From the looks of it, Dev Anand is hugely enamoured by the actress on the screen, much to the chagrin of Mumtaz, whose pleasure of the evening suddenly evaporates, as she looks at Dev Anand watching Hema Malini with fascination. 🙂

Interesting to hear such light hearted verses coming from Neeraj. But you know, that is not an isolated incident. Sample some of his other songs – “Sunday Ko Pyaar Hua, Monday Iqraar Hua” from ‘Kanyadaan’, “Darr Lage To Gaana Ga” from ‘Yaar Mera’ (1971) and “Dheere Se Jaana Khatiyan Mein” from ‘Chhupa Rustom’ (1973).

But this song, is still so very special. Note the huge variation in the metre of different parts of lyrics. And kudos to Burman Da to have seamlessly knitted together the song with such a variety of lengths of singing lines. Quite a masterpiece it is.

And then once again, heartful wishes to Neeraj ji – continue ‘nirantar‘.

[Ed Note: Part of the material for this write up is adapted from an interview with Neeraj published in the Hindu of May 21, 2015.]

[Ed Note: Although the video clip is quite adequate in itself, the audio link is also presented, not for the sound of the song, but for the image that is accompanying it. The image shows Asha Bhosle standing next to a seated Kersi Lord – musician and instrumentalist par excellence. Kersi had a very close working relationship with SD Burman. At first I wondered why someone has created this audio post this way. But then when I listened to this song again, it was clear. I suggest the readers also to listen to this song closely, and more than once if possible. There are many little special sound effects and variations in the instrumentation, that make this song really so magical. That is all Kersi Lord’s handiwork. 🙂 ]

Video

Audio

Song – Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar  (Tere Mere Sapne) (1971) Singer – Asha Bhosle, Lyrics – Neeraj, MD – SD Burman

Lyrics

phurrrrr
ud chala..aa..aa..aa

phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar

phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar..rr..rr

main hi nahin
dil hi nahin
udi jaaye saari fizaa
thaamo koi
aa ke hamen
hum ko na apna pataa
main hi nahin. . .
main hi nahin
dil hi nahin
udi jaaye saari fizaa
thaamo koi
aa ke hamen
hum ko na apna pataa
kabhi yahaan
kabhi wahaan
kabhi wahaan
kabhi yahaan
jaane nahin kahaan kahaan
ud chalaa. . .
ud chala
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar aa aa

sooni sooni
bheeni bheeni
rangeen kya shaam hai
meetha meetha
hsssss pyaara pyaara
hothon pe ik naam hai
sooni sooni. . .
sooni sooni
ha bheeni bheeni
ha rangeen kya shaam hai
meetha meetha
hsssss pyaara pyaara
hothon pe ik naam hai
roko isey toko isey
thaamo isey baandho isey
dekho dekho ye to ud chala. . .
ha ha ha
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar..rr..rr

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

फुर्रर्रर्र
उड़ चला॰॰आ॰॰आ॰॰आ

फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर

फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर॰॰र्र॰॰र्र

मैं ही नहीं
दिल ही नहीं
उड़ी जाये सारी फिज़ा
थामो कोई
आ के हमें
हमको ना अपना पता
मैं ही नहीं॰ ॰ ॰
मैं ही नहीं
दिल ही नहीं
उड़ी जाये सारी फिज़ा
थामो कोई
आ के हमें
हमको ना अपना पता
कभी यहाँ
कभी वहाँ
कभी वहाँ
कभी यहाँ
जाने नहीं कहाँ कहाँ
उड़ चला॰ ॰ ॰
उड़ चला
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर आ आ

सूनी सूनी
भीनी भीनी
रंगीन क्या शाम है
मीठा मीठा
हस्ससस प्यारा प्यारा
होठों पे इक नाम है
सूनी सूनी॰ ॰ ॰
सूनी सूनी
भीनी भीनी
रंगीन क्या शाम है
मीठा मीठा
हस्ससस प्यारा प्यारा
होठों पे इक नाम है
रोको इसे टोको इसे
थामो इसे बांधो इसे
देखो देखो ये तो उड़ चला॰ ॰ ॰
हा हा हा
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर॰॰र्र॰॰र्र


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.

If remembering important dates is likened to batting in cricket then I must admit that I am a tailender batsman on the lines of B S Chandrashekhar, who found it easier to take wickets than score runs. In his test career, he took 242 test wickets but scored only 167 runs. 🙂

Luckily, many of our regulars are like Gavaskar, Tendulkar and Virat Kohli when it comes to remembering important dates and they always come to my rescue. Someone or other of our regulars never fails to inform tailenders like me about important dates pertaining to the blog.

Today (3 december 2017), when I woke up and checked our whatsapp group, I found a message from our earliest riser-“Many Many more happy returns of the day Khyati Ji !!”

That message from our earlier riser Satyajit Rajurkar informed me that it was the birthday of Khyati Bhatt, our latest riser 🙂 .

when I became the second to greet her followed by some others, she was immediately online to respond. Supposed to be the last one to rise among us (seeing that she is located in US), she was already awake at that time. 🙂

A little while later, I received a phone call from Peevesie’s mom, another of our strong batters in matters related to remembering dates. We need to have a song to greet her, she insisted. She told me that she has never met Khyati Ji and so she does not know anything about her. Read her introduction that Sudhir Jee wrote about her during our run up to 10kth song, I suggested. she informed me that she had already gone through that, but she could not get a clue about her musical taste, so she was at a loss about choosing a suitable song.

I tried to sound knowledgeable and informed her that Khyati ji’s husband is a big fan of Talat Mehmood,, so as an aadarsh Bhaartiya-American naari, she is bound to like what her husband likes. But I do not have a list of Talat Mehmood songs that are yet to be discussed, she informed me. Yes that indeed was a problem seeing that Talat Mehmood has sung some 450 songs in all and the blog already has 368 of them. So sending her a list of the balance 80 odd Talat Mehmood songs would be a tall order at such short notice.

Peevesie’s mom had sent me a contribution for Dev Anand, and I suggested that another Dev Anand contribution would serve the purpose. Would a “Heera Panna” song do, she enquired. Of course it would do, I opined.

Peevesie’s mom informed me that she would send just the lyrics of the song and asked me to write an article on Khyati ji. Sudhir Jee would have been just the man to write on her, but he seems to be travelling and is hence un-available, so the job of writing about the birthday girl fell upon me.

I am not as knowledgeable about Khyati Bhatt as Sudhir Jee and some of our Mumbai based regulars are, but I have talked to her on phone on quite a few occasions. I have attended a “gang out” just once, and on that one occasion, I had met her.

I consider myself a “good” observer of people, so I think my interactions with her, however limited they may be, gives me enough content to be able to write on her in a “knowledgeable” manner.

The first thing that anyone notices about Khyati Bhatt is that she is an extremely friendly soul, someone who has the knack of putting others at ease with her calming and reassuring presence. One can realise all this just by talking to her on phone. My first few interactions with her were on phone. One does not realise how time passes when one talks to someone like her. Talks with her have often lasted 15 minutes or more and we have covered lots and lots of topics during that time. I am sure if she gets talking with Peevesie’s mom or any other ladies among our group then their talks would last even longer. 🙂

When we met at the “gang out” at Mumbai on 21 december 2014, I never felt like I was meeting her for the first time. I remember that I have used the very same words while meeting with other regulars as well. 🙂 The fact that all of us HFM music lovers are like this is a great blessing. Personally I consider myself blessed to have known so many HFM lovers who in addition to being likeminded music lovers are likeminded in their nature as well. If every person is as simple, friendly, understanding and accomodating like our regulars then the world will be a much better place to live. I am happy that at least we in our small group of regulars have so many great individuals.

Did I forget to mention that Khyati Jee is the raunaq of every gathering that she attends. She was easily the raunaq and bahaar of that gangout. In fact, now I have come up with a suitable term for her. I call her our “raunaq e blog”. 🙂

Khyati Bhatt is quite an interesting person as we all know. Those who do not know may read about her in this endearing account of her penned by Sudhir Jee. Like most of our regulars, she can be likened to an iceberg. 🙂 Behind the friendly person lies an extremely well accomplished individual. “Thhodi bahut padhi likhi bhi hai“- where thhoda bahut padha likha hona means being a post graduate in mathematics.

Her elders were well connected with film people. She in fact recalls being seated adjacent to Asha Parekh and Dilip Kumar in a wedding reception in her younger days. She was so young at that time that it never occured to her to take their autographs at that time. 🙂

As a music lover, her copy of HFGK (delivered to her by Sudhir Jee) is her prized possession. She has made very good use of that venerable tome.

For instance, she went through the list of movies of 1960s and compared them with the list of movies covered in the blog. Based on that she prepared an excel sheet where names of missing movies were given. She gave the task of covering these missing movies to Sudhir Jee. That is how Sudhir Jee began his series on missing movies of 1960s. By now he has covered many missing movies of 1960s.

That excel sheet gave me the idea that I should do the same for other decades as well. So now I have a comprehensive list of all the movies of all the years (from 1931 till 1980) that are missing from the blog. This is a great help as I can immediately find which movies from which year are not yet covered in the blog. That work now gives me a quick “at a glance” idea about which movie has how many songs in it and how many songs are covered. So I quickly know which movies and which songs to look for. With so many movies and songs already covered, keeping track of them and spending time only on uncovered songs and movies is an idea (derived from her excel sheet) that is proving out to be an extremely handy way of keeping track of songs for me. So, Khyati Bhatt inadvertently helped add another dimension to the background research work of this blog.

Sudhir Jee has many more juicy details about her but he is refusing to share those details with us. 🙂 And other regulars are wondering what these details could be. Peevesie’s mom in fact states that Khyati Bhatt is a “paheli” for her. So, she has chosen this song “ek paheli hai tu” from “Heera Panna”(1973) to greet her on the occasion of her birthday.

So here is this “Heera Panna” (1973) song “Ek Paheli Hai Tu” which is sung by Kishore Kumar and hummed by Asha Bhonsle and it is lip synced by Dev Anand and Sheetal. Dev Anand (also also Peevesie’s mom) kept thinking throughout the song that it was Raakhi. Peevesie’s mom’s was also wondering how Raakhi agreed to do this scene. 🙂

We in this blog wish Khyati Bhatt a very happy birthday and many happy returns of the day. May our beloved “raunaq e blog” keep spreading sunshine in the lives of all that she meets and interacts with.


Song-Ek paheli hai tu (Heera Panna)(1973) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics(Provided by Peevesie’s mom)

Ek paheli hai tu
Haan
Naar naveli hain tu
Haan kuch kahaa
haan
Jitna main suljhaoon
Aur ulajhti jaayein
Sach
Ek paheli hai tu
Naar naveli hai tu
Jitna main suljhaaoon
Aur ulajhti jaaye
Ssss aaah
Yahaan aao na

Ek paheli hai tu
Naar naveli hai tu
Jitna main suljhaaoon
Aur ulajhti jaaye
haa o Ho deewaane

Deewaana hone laga hoon
Tara ra ra rum
Main inn mein khone laga hoon
Tara ra ra rum
Deewaana hone laga hoon
Tara ra rum
Main inn mein khone laga hoon
Tara ra ra rum
O naina tere
aise jaise bhool bhulaiya
Badi albeli hai tu
Ha ha ha ha
Naar naveli hai tu
Jitna main suljhaaoon
Aur ulajhti jaaye

Oh ho
kab tak peechha karoge

Ye premi
aankhon ko meenche
Tara ra rum
Chalta jaaye tere peechhe
La la la la la
Ye premi aankhon ko meenche
Tara ra rum
Chalta jaaye tere peechhe
La la la la la
He khincha chala jaaye
kachche dhaage se Sainyan
khel woh kheli hai tu
jaao
Naar naveli hai tu
Jitna main suljhaaoon
Aur ulajhati jaaye

Pa pa pa paaa
Pa pa pa pa pa pa

Jaadoo koi hai ke dhokha
Tara ra rum
Kadmon ko jaaye na roka
Tara rara rum
Hey Jaadoo koi hai ke dhokha
Tara ra rum
Kadmon ko jaaye na roka
Tara rara rum
Jaane kahaan
leke chali
Thhaam ke bainyan
Aa te jaayiye
Aaj akeli hai tu
Naar naveli hain tu
Jitna main suljhaoon
Aur uljhati jaaye
Ek paheli hai tu
Ha ha ha ha


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Hullo Atuldom

“Banarsi Babu” is a 1973 movie which was produced and directed by Shankar Mukherjee. The movie had Dev Anand- Rakhee- Yogita Bali in the lead with Jeevan, I.S. Johar, Manorama, Veena, Bhagwan Dada, Maruti etc in supporting cast.

It was a very simple story of twins getting separated in childhood- one is adopted by a wealthy lady (Raj Rani) and the other remains with the biological mother (Veena) in Banaras. The child with the foster mother grows up to be a wealthy businessman (Sohan) and the other a pickpocket (Mohan) who has Gulabi (Yogita Bali) as an accomplice.

On a trip to Kashmir Sohan meets the beautiful Neela (Rakhee) falls in love and marries her. He has a scheming manager Saxena (Jeevan) who sends him away on some other trip to London and replaces him with his look-a-like from Banaras in Neela’s life so that they can con her of her inheritance. Matters take a twist when Gulabi comes looking for her Mohan and bumps into Sohan.

Another twist is when escaping the clutches of Saxena’s henchmen he walks into his mother Veena’s hospital room and she calls him Mohan. Then when he returns home he finds Neela cold towards him as she has begun suspecting that he is after her wealth. All this leads to a climax where first the two brothers find each other and then they fight Saxena. Finally, two and half hours are up during which time we are also treated to some entertaining songs penned by Rajender Krishan and composed by Kalyanji- Anandji. Kishore Kumar (who else) was the voice for Dev Anand and Lata Mangeshkar and Asha Bhonsle were the voices for the ladies.

On the sixth anniversary of the stylish actor producer and director Dev Anand let us remember him with a lively song from this movie. The song has Rakhee and Dev Anand as Sohan romping about on the snow-clad mountains and teasing each other. After the song it is revealed that they are in love and on a honeymoon.

A small trivia: 1973 saw Dev Anand in five movies- “Shareef Badmaash” with Hema Malini & Rakhee (already yyiippeed); “Joshila” again Rakhee and Hema Malini (not yet yyiippeed); “Heera Panna” with Rakhee and Zeenat Aman (only 2 songs posted); “Chhupa Rustam” with Hema Malini (not yet yyiippeeeed); and “Banarasi Babu” with Rakhee and Yogita Bali (only 1 song as yet that too posted in 2009). So, we se that Hema and Rakhee were his preferred heroines that year. Just a little food for thought.

Editor’s note-Though Lata and Asha Bhonsle are described as the female playback singers in the movie, the female version of this song does not sound like Lata’s (Lata is mentioned as the singer in HFGK). Perhaps she had sung the record version and the movie version had another voice ? The voice sounds more like Usha Khanna, it hardly sounds like Lata.

Male version

Female version

Song-Mere peechhe ek ladki (Banarasi Babu)(1973) Singer-Kishore Kumar / Lata (?), Lyrics-Rajinder Krishan, MD-Kalyanji Anandji

Lyrics

mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki

hey ae ae ae ae
haaye dil ki dushman jaan ki dushman
dil ki dushman jaan ki dushman
yeh bhi na samjhaaye
kyun saaye ki tarah yeh mere peechhe peechhe aaye
main ladka seedha saadha
main ladka seedha saadha
kya jaanoon iska iraada
munh se toh yeh kuchh na boley
aankhon se boley zyaada
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki

haaye deewaani se pyaar karen toh
arre deewaani se pyaar karen toh
deewaane kehlaayen
baahon mein aa jaaye toh
hum shaayad maan bhi jaayen
hai mausam mast gulaabi
tara ru ru ru ru
hai mausam mast gulaabi
dil kaise ho na sharaabi
pyaar zaraa sa kar len toh hai
iss mein kaun kharaabi

mere peeche ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peeche ek ladki

——————————–
Female version (this happens when Rakhee tries to remind her husband of the good times they had experienced in Kashmir unaware that the one with her is Mohan not Sohan)
——————————–

Deewaane se pyaar karoon toh
Deewaane se pyaar karoon toh
Deewaani kehlaaoon
Baahon mein aa jaaye toh
Main shaayad maan bhi jaaoon
Hai mausam mast gulaabi
La la la la la la
Hai Mausam mast gulaabi
Dil kaise ho na sharaabi
pyaar zaraa sa karloon toh hain
issme kaun kharaabi
mere peeche ek ladka
ek ladka pagla sa
awaara baadal sa
ghoom raha hain
jhoom raha hain
dil de doon isko kaise
mere peeche ek ladka
ek ladka pagla sa
awaara baadal sa
ghoom raha hai
jhoom raha hai
dil de doon isko kaise


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.

“Dushman”(1957) was directed by Raj Rishi for Kwatra Art Productios, Bombay. The movie had Dev Anand, Usha Kiran, Radhakishan, Kumkum, Prabhu Dayal, Master Romi, Manju, Minu Mumtaz, Chaad Burque, Panditjee, Manjeet, Raja Kapoor, Nagpal, Jerry, Ravikant, Jagdeesh Kamal, Nadir, S Gautam, Prakash Dutt, Sharma, Chadrakant etc in it.
Read more on this topic…


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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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14741

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Movies with all their songs covered =1150
Total Number of movies covered =4028

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