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

Posts Tagged ‘G M Durrani


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 :

4982 Post No. : 16865

Today’s song is from the film Gul E Bakawali-1956.

Wild and fertile imagination has been a tool of entertaining mankind from ancient times. Today, old people tell tales to youngsters like they were told by their grandparents and so on. This has been going on and in the process, many creative authors chipped in their ‘ Two Cents ” to those existing stories enriching them further. Thus the child in the Adult man has always been provided fodder for his satiation for Romance and Thrill.

Arabian Nights has been one such book. Generations after generations have enjoyed the exploits of Allauddin, Alibaba and Sindbabd. Gul E Bakavali or the Magic flower of the plant Bakavali is also one of these stories. Needless to say that the filmmakers from the Silent era to the Talkie era have used this story in their films.

Gul E Bakavali-1924 was the first silent film on this story. And the first story in Talkie films was made in 1932. Let us see the History of these films….

GUL-E-BAKAVALI or the magic flower of the Bakavali Tree is supposed to do many things which are unimaginable. Gul-e-Bakawali is a popular medieval romance in many versions. The seventeenth-century poet Nawazish Khan was perhaps the first to write a Bangla version of Gule Bakawali, a story in verse about the love of Prince Taj ul mulk for the fairy Bakawali. The Sprinter catalogue records an Urdu Gule Bakawali written in verse in 1625. In 1722, Sheikh Izzatullah, a Bengali, wrote a prose version, Taj ul mulk Gule Bakawali, in persian. It is not known on which version Nawazish Khan based his poem.

There were several variant versions of Gule Bakawali, such as the poetic versions by Muhammad Mukim (1760–70), Muhammad Ali, Munsi Ebadat Ali (1840), Umacharan Mitra (1834), and Abdus Shakur, and the prose version by Bijaynath Mukhopadhyaya (1904). Kedarnath Gangopadhyaya wrote a play based on the story in 1978. Ebadat Ali’s Gule Bakawali is a dobhasi puthi.

The story was also popular in Urdu. Thus, at the beginning of the nineteenth century, Munshi Nehalchand Lahori wrote a prose version titled Mazhabe Ishq (1803), and Dayashankar Nasim wrote a masnavi (poem) called Gulzare Nasim (1835).

* Gul-e-Bakavali was the first picture with the same subject as Silent film in 1924 directed by Kanjibhai Rathod and produced by Kohinoor flms. It starred Jamna, Khalil, Fatma Begum, Noor Mohamed, Sabita Devi, Sultana, Usha Rani and Zubeida.

* The story was made as Silent film again in 1930 (Starring Vishnu, Gulab .. Dir Mohanlal Shah)

* Gul-e-Bakavali was made into Hindi films five times in 1932 ( starring Ashraf Khan, Zaibunnisa.. Dir Anand Prasad Kapoor), 1947 ( Starring Feroz Dastur, Menaka, Rabab, Sanober..Dir Rustom Modi), 1956 ( starring MG Ramachandran,Varalaxmi, Rajkumari…Dir Ramanna TR), 1963( starring Jairaj, Nishi.. Dir Jugal Kishore) and 1982( starring Feroz Khan , Amjad Khan … Dir Ravi (Kant Nagaich )..

* The story was pictured earlier in Telugu in 1938 with title Gulebakavali directed by Kallakoori Sadasivaravu and starring B. Jayamma. and again pictured as Gulebakavali Katha in 1962 (starring NT Ramarao , Jamuna, Nagaratnam .. Dir Kamalakara Kameshwara Rao)

* There are two Tamil versions, one from mid 30’s by Soundararajan (Tamilnadu Talkies fame!) and another version in 1955 , directed and produced by T. R. Ramanna and starring M. G. Ramachandran, T.R. Rajakumari and G. Varalakshmi…

The earlier Punjabi version was released in 1938 (*Baby Noorjehan , Ajmal , M Isamil … Dir Barkat Mehra) …

In Pakistan the story was pictured in 1961 (Ilyas Kashmiri, Jamila Razzaq .. Dir Munshi Dil .. MD.. Safdar Hussain ).

Today’s film was a Tamil film dubbed in Hindi. The film was made by Madras Cine Corporation and was marketed by R.R. pictures, Madras. The director was Ramanna and the MD was Gyan Datt. The cast of the film was T R Rajkumari, M G Ramchandran, Tangavalan, Raja Sulochana, G Varalakshmi, Chandrababu and others. 8 Songs of the film were written by P L Santoshi (7) and Indivar (1).

M G Ramchandran, N T Rama Rao, Gemini Ganesan, Shivaji Ganesan and many well known Southern Heroes wanted to act in Hindi films, but their problem was Language. Thus most of their Films in Hindi are dubbed films, though Gemini Ganesan made some Hindi film appearances in person. The score for others in Hindi is MGR (11 films), NTR (23 films), Gemini Ganesan (24 films), and Shivaji Ganesan (19 films). (The famous Kannada Hero Dr. Rajkumar did not work at all in any Hindi film.) Same is the case with South Heroines. Let us see about T R Rajkumari.

T.R.Rajkumari was an addition to the already present Rajkumaris in Hindi films. Thank God she did not sing, only acted, that too only in films made in South or by south producers. The other Rajkumaris were Rajkumari Dubey Banaraswali, Rajkumari Calcuttewali and Rajkumari Shukla.

Thanjavur Radhakrishnan Rajayee (May 05, 1922 – September 20, 1999), popularly known by her screen name T. R. Rajakumari, was a film actress, Carnatic singer and dancer. She has been called the first “dream girl” of Tamil cinema. Later she turned as a producer along with her brother under the banner “R. R. Pictures”. She had an active career in the period between 1936 and 1963.

Rajkumari was born on 05 May 1922 in Thanjavur, Madras Presidency, now in Tamilnadu, in a family of carnatic musicians. Both her mother and her grandmother wanted her to become a singer and trained her in Carnatic music.

Rajkumari made her film debut in Kumara Kulothungan which was produced in 1938 – 39 but was released in 1941 after Kacha Devayani. In the initial ads her name appeared as T. R. Rajayee but later in the film she was credited as T. R. Rajkumari. In 1944, Rajakumari starred in the record-breaking film Haridas alongside M. K. Thyagaraja Bhagavathar and gained recognition for her glamorous portrayal.

She acted in few Hindi movies during 1948 to 1958. Her first Hindi film was Chandralekha with Ranjan.She worked in Chandralekha-48, Jeevan Tara-51, Manohar-54, Rajkumari-55, Gul e bakavali-56 ( produced by her company) and finally in Suhag-58.

Rajakumari died on September 20, 1999 after a prolonged illness.

Then there was Raja Sulochana in this film, who did 14 Hindi films. Chittajallu Rajeevalochana (15 August 1935 – 5 March 2013), better known as Rajasulochana, was a classical dancer and actress. She has acted in more than 300 Telugu, Tamil, Kannada, Malayalam and Hindi language films.
She was born on 15 August 1935 in Bezawada (now Vijayawada), in Andhra Pradesh. Her father, Pilliarchetty Bhakthavatsalam Naidu worked in Indian Railways and was transferred to Madras as PA to the General Manager of M&SM Railway. At school, her name was recorded in error as Rajasulochana.
She learned Indian classical dance from Lalithamma, K. N. Dhandayuthapani Pillai, Acharyulu and Vempati Chinna Satyam, Krishnakumar, Vishnu Vysarkar, and Kalamandalam Madhavan.

The Kannada stage and screen maestro H. L. N. Simha gave her an acting opportunity in Gunasagari (Kannada, 1953), produced by Gubbi Veeranna. Subsequently, she acted in about 274 films in all South Indian languages. She acted with all the leading stars of South Indian cinema such as M. G. Ramachandran, Sivaji Ganesan, N. T. Rama Rao, Akkineni Nageswara Rao, Rajkumar, S. S. Rajendran, Prem Nazir, A. P. Nagarajan and M. N. Nambiar.

Rajasulochana was a special friend of the boss A.V.Meiyappan and he was trying to push her in Hindi films.It was rumoured that due to this only,a song and dance item was thrust in Chori Chori,even if it did look like a patch,having no connection to the picture story in any manner !(tum arabon ka herfer karnewale…)

Rajasulochana was a good dancer/actress and acted in some 80 odd Telugu,Kannada and Tamil movies. She acted/danced in few Hindi movies like, Aayi phirse Bahar, Alladin ka chirag, Naya aadami, Sitaron Se aage etc.

She founded the dance school “Pushpanjali Nritya Kala Kendram” in 1961 in Chennai. It has trained many students in Indian classical dance forms and celebrated its Silver Jubilee in 1986. She gave many dance performances in India and abroad and got critical acclaim for the dance dramas.

She had a son out of her first marriage and after it ended in a divorce, she married actor-director C. S. Rao and had twin daughters. One daughter lives in Chennai. The other twin daughter and son live in Chicago, Illinois.

Rajasulochana died in Chennai on 5 March 2013 at the age of 77. Condoling her death, Tamil Nadu Chief Minister Jayalalithaa said the actress had left an imprint for herself in the film industry. She was engaged in creating artistes in her dance school “Pushpanjali Nrithya Kala Kendram” here, Jayalalithaa said.

Today’s song is a duet of P.Susheela and G M Durrani.


Song- Bade tum veer sahi baat badi mat karna (Gul e Bakaawli)(1956) Singers-P Susheela, G M Durrani, Lyrics-P L Santoshi, MD-Gyan Dutt

Lyrics

Bade tum veer sahi
baat badi mat karna
Bade tum veer sahi
baat badi mat karna
nahin jeet mujhe paayega
teer kitne hi koi chalaaye
nahin jeet mujhe paayega
teer kitne hi koi chalaaye ae
Bade tum veer sahi
baat badi mat karna

o abhimaanin naari
kaisi kismat lalkaari
o abhimaanin naari
kaisi kismat lalkaari
is jag mein yoon maharaj
?? mera dam bharte hain
is jag main yoon maharaj
?? mera dam bharte hain
jo ho tumhaare
use ?? karte hain
jo ho tumhaare
use ?? karte hain

achcha jee ye kahiye
ab ?? kya chaahiye
achcha jee ye kahiye
ab ?? kya chaahiye
mujhe to pau baarah padte hi
jay paaun
mujhe to pau baarah padte hi
jay paaun

ye lo jee pau baarah
?? kaise pade
ye lo jee pau baarah
?? kaise pade

man pe hogi jeet
man pe hogi haar
yoon na bekaar mere sarkaar
man ko kariye beqaraar
man pe hogi jeet
man pe hogi haar
yoon na bekaar mere sarkaar
man ko kariye beqaraar

man se lubhaake
kya ??
adhikaar man pe paay gaya
dil ko waar ke
dil mein kisi ke
kariye pahle ye akhtiyaar
man se lubhaake
kya ??
adhikaar man pe paay gaya
dil ko waar ke
dil mein kisi ke
kariye pahle ye akhtiyaar
bekaar mere sarkaar
man ko kariye beqaraar


This article is written by Arunkumar Deshmukh, 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 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 :

4848 Post No. : 16637 Movie Count :

4531

Today’s song is from an absolutely obscure film called Vijay Laxmi-1943. The film’s song are not available on social media like YT etc, but I had 4 songs of this film and I found that this film is yet to make a Debut on our Blog.

If 100 films are made in one year, only about 10% of films are Hits or popular. About 10 to 20 % of films do an average business on Box office, but the rest number of films either flop or disappear from the theatres quickly. That means the majority of the films are not worth remembering. Why does this happen when so much money is poured into the films ? No one wants to waste his money on making a film.

Filmmaking is like playing on a Race Course. 100 people buy tickets and put their money on different horses. Only a few win. The rest lose their money, but then everybody can’t win. It is a matter of Luck, because there is no fixed formula for success. When a producer puts his money into making a film, he has all the hopes to earn profit by making the film a Hit. However, not every film can become a Hit. In Spite of this uncertainty in races, films and other such matters, people take chances again and again by changing their strategies.

Let us now take a look at what the Film scenario was in the year 1943….

1943 was a year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital- excellent songs by kanan Devi.

Kanoon- another hit from Naushad.

Mera Khwab- MD Ghulam Mohammed’s Debut film

Najma- Mehboob khan’s first film, on Muslim society.

Nurse- Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh- A big budget costume drama made by Minerva, based on story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen- Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer- Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Besides these films, the following films were also made but their names are not even known to most people. These films just came and went into oblivion !
Andhera, Angoothi, Ashirwad, Bhalai, Chhed Chhad, Daawat, Duniya Deewani, Jangi jawan, Kurbani,Mohabbat, mauj, Pati pooja, prem sangeet, Rekha, Sahara, Salma, Sawaal, Tasweer, Vijay laxmi and Zameen etc etc. These are only sample names. I have not counted C grade and stunt or costume films, which were plenty in numbers.

Today’s film Vijay Laxmi was made by Indian Art Pictures and was directed by one G.S.Kashyap. I find that his name appears as a Director only for this film in the HFGK. Possibly he was a one film director like many in the war period ( who would provide finance also for the film to become a director ). The music was composed by G.M.Durrani, who was basically a singer but had a strong desire to also be a composer. While he sang 305 songs in 168 films, he also composed music in 8 films and acted in 16 films. He even wrote 1 song in film Nazare-1949.

The cast of the film was Shobhana Samarth, Motilal, Yashodhara katju, Gope, David, Meher Bano (actress Purnima, in adult life),Bhudo Advani, Leela Mishra and many others. In this film even Leela Mishra’s husband Ram Prasad Mishra had also done a small role and his name appears in the credits too.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received the Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli, and she and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-37, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She faced a similar problem while working in another film titled Honhaar. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-96. 8 films were released after her death. ( Thanks to wiki, Ateet ke sitare, muVyz, HFGK and my notes).

I have no idea about the film’s story or other details. The song was given to me by friend Abhay Jain (USA) and was uploaded by our Sadanand Kamath ji. Thanks to both.

Editor’s note:_Readers are request to suggest correction to the lyrics wherever applicable.


Song- Bano sudeshi bano Sudeshi (Vijay Laxmi)(1943) Singers- G M Durrani, Lyricist- Not known, MD- G M Durrani

Lyrics

Bano sudeshi
Bano sudeshi
Bano sudeshi
Bano sudeshi
?? bhayo ??
?? bhayo ??
?? bhayo ??

tan sudeshi man sudeshi
maal ?? deshwaalon
kyun nahin lete sudeshi
desh hai kangaal
desh hai kangaal

?? bhayo ??
?? bhayo ??
?? bhayo ??
??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

laakhon hamaare bhai
zinda hi mar rahe hain
roti ka nahin tukda
faakon se mar rahe hain
aanten hain unki bhookhi
aanten hain unki bhookhin
bachche hain unke bhookhe
maayen hain unki bhookhi

kapdon ko mohtaaj
dhaanp nahin saktin
maa behnen
apne tan ki laaj
apne tan ki laaj
unki roti aatma ka
unse hai sawaal
unse hai sawaal
unki roti aatma ka
unse hai sawaal
unse hai sawaal
?? bhayo ??
?? bhayo ??
bano sudeshi
bano sudeshi
bano sudeshi
bano sudeshi

jo desh pe urbaan
achche wahi insaan
desh laakhon mit gaye
zinda hai Hindustan
zinda hai Hindustan

Desh apna bemisaal
uska tum se hai sawaal
Desh apna bemisaal
uska tum se hai sawaal
?? bhayo ??
?? bhayo ??
marte dam Bhagwaan
de yahi vardaan
har har janam humko miley
ye pyaara Hindustaan
har har janam humko miley
ye pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaan
pyaara Hindustaaaan


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 :

4699 Post No. : 16391 Movie Count :

4454

Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.

The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.

Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.

Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.

When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.

Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.

Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).

Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.

Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.


Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both

Lyrics

Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen

nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??

main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen

main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun

main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen


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 :

4492 Post No. : 16018

Today’s song is from film Bade Nawab Saheb-44. It was a Muslim social film, produced by Silver films – a joint venture of actors Kumar and Chandra Mohan. The film was directed by Vedi, a name about which I could not get any information except that he was a director from the Silent era. In the Talkie era, he has 4 films to his credit as director. First film is Bade nawab saheb-44, then Naseeb-45, Room Number-9 – 46, and For Ladies only-51. This is all I know about Vedi. Unfortunately, we do come across few such names from the early era films. This is because we have very poor documentation. Information on big actors etc is available. That is why the task of Hindi film History students (like me, for example) is tough in securing and recording information for the posterity.

The music director was Bashir Dehalvi. Here too, we only know that he gave music to films like Jhankar-42, Kalakar-42, Ujala-42, Koshish-43 and hawai Khatola-46, in addition to today’s film. The 10 songs of the film were written by Lyricist Shams Lucknowi. He seems to be a story and dialogue writer too. Story of film Andaz-49 was by him. He wrote the dialogues of films like Idd ka chand-33 and Kimiyagar-36. He also acted in film Parchhain-52. He wrote 104 songs in 15 films from Lal Haveli-44 to Dahej-50. May be , then he migrated to Pakistan or what, we do not know.

Most of the so called Historical (my friend calls them Distortical), Costume dramas, Arabian Night stories films etc have a Muslim background. But ” Muslim Social” films is a separate category. Initially it was considered to be a very sensitive issue to depict the social life of Muslim families in India and so film producers were wary of making such films. When film makers with modern thinking came to the industry – like K Asif, Mehboob or Fazli brothers- there was a cautious but slow beginning of Muslim social films. My two friends, shri Kamlakar Pasupuleti ji (originally from Hyderabad and settled later in US) wrote an informative book, ” Forgotten movies on Muslim Culture 1933 to 1947 and shri Isak Mujawar ji wrote (in Marathi) ” Muslim Cinema”. Both these books give good information on this category of films.

Like many other myths in Hindi film industry, one myth is that Mehboob Khan was the pioneer in making Muslim social films in India. This probably originated because the first film of Mehboob’s own company Mehboob Productions was ” Najma”-43, a Muslim social film starring Ashok kumar, Veena, Stara, Kumar, Yaqub etc. But the fact is different.

The first Muslim social film was ” Rashida”-35, made by Madon Theatres, Calcutta, featuring Kajjan, Effendi and others. It was directed by a Jew-Izra Mir. The name of the film indicated that it was about a Muslim girl. Somehow, I find a lot of Muslim social films made had titles of girl’s names, Like Zeenat, Ameena, Najma, Shama, Heena, Zubeida, Salma, Ismat etc etc.

The beginning of serious Muslim social films was done by Fazli Brothers- Hasnain and Sibtain Fazli. They first made a Muslim social film Qaidi-1940, featuring Ramola,Mehtab, B.Nandrekar, Wasti etc. This was a period of struggle for Indian Independence. The fundamentalists in Muslims were active and due to the fear of their reaction, film makers were wary of producing such films.Even Fazli brothers were also afraid that there would be obstruction from these people to their film, so they decided to make the film in Calcutta. Their first Muslim Social film Qaidi-40 was very successful. Encouraged, they made 2 more such films (Masoom-41 and Chauranghee-42) in Calcutta. For film Chauranghee-42, the Fazli Brothers roped in famous Bangla poet (who later on became the National Poet of Bangladesh) Kazi Nazrul Islam- the creator of Nazrul geeti, as a Lyricist and MD for the film.

After 1942, Fazli Brothers shifted their activities to Bombay and made many Muslim social films like Fashion-43,Ismat-44, Dil-46 and Mehendi 47. So, in true sense, it is the Fazli Brothers who were the pioneers of Muslim Social films in India.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them were Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films, Phool-45 by K.Asif, and Director Mazhar Khan’s Muslim social film ” Pehli Nazar’ in 1945. Amongst these, film ‘ Elan ‘-47 was a milestone film, produced by Mehboob. It dwelt upon the needs of improvements for Muslim community.

After 1947, India lost a very big market for its Muslim social films, when Pakistan-East and West- was formed. It does not mean that Muslim social films were not made after 1947 in India. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen0-52,Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke aansoo-59, Pahli Raat-59 etc were all Muslim socials. They, however, were not successful, for whatever reasons. But the fun is films of Muslim backgrounds but non social films like Anarkali,Mirza Ghalib,Hatimtai,Alibaba and forty thieves etc were good grossers and ran well. The first Hindi film to win the President’s Gold Medal (the first was Marathi film-Shyam chi aai ), was Mirza Ghalib-54. This indicated that there was no audience for Muslim social films now. Later on, the conditions changed and Muslim social films like Chaudhavi ka chaand, Barsaat ki raat, Chhote Nawab, Bahu Begum, Mere huzur, Pakeeza etc became quite successful. However, some opine that these films succeeded due to other reasons like Music, songs etc. One funny thing was that most Muslim social films-from the beginning- showed Lucknow as the background of the story ! (Film names being mentioned are only indicative and not exhaustive, so many names will be missing here.)

The cast of film Bade Nawab Saheb-44 was Chandra Mohan, Pahadi Sanyal, Kumar, Pramila, Bibbo, Sushil Kumar, Leela Mishra, Kamala, Agha Jaan etc. etc. Chandra Mohan was one of the most handsome actors of Hindi cinema. Some other handsome actors were B. Nandrekar, Vijay Kumar, Al Nasir etc. Chandra Mohan was also a versatile actor. Incensed by losing a role in the Marathi version of film Amrit Manthan-1934, just because he could not speak Marathi fluently, he learnt Marathi in no time and later worked as Hero in 3 Marathi versions of Hindi films !

Born on 24-7-1906 in Narsinghpur in Madhya Pradesh, Chandra Mohan was known for his large grey eyes, voice modulation and dialog delivery. His eyes form the opening sequence in V. Shantaram’s 1934 film Amrit Manthan, which was also his film debut. It was the first film made in the new established Prabhat Films studio, and made both in Hindi and Marathi. Mohan received acclaim for his role as role Rajguru and went on to establish himself as noted villains of times.

In film Geeta-40, Chandramohan was the Hero and had done the Father and Son double role. This was a Bilingual film in Hindi and Marathi, and in both versions, Chandramohan was the Hero. Earlier, V. Shantaram had given a break to Chandramohan in his film ” Amrit Manthan”-34, which also was a Bilingual film in Hindi and Marathi. Chandramohan being a Kashmiri and not knowing Marathi, in the Marathi version, his role of Rajguru was done by keshavrao Datey.

However. soon Chandramohan picked up fluent Marathi and acted in the Bilingual films of Hindi and Marathi like, Jwala-38, Geeta-40 and Apna Ghar-42 He became the first Hindi actor to do roles in Marathi films.

Chandra Mohan later appeared as Emperor Jehangir in Sohrab Modi’s Pukar, as Randhir Singh in Mehboob Khan’s Humayun and as Seth Dharamdas in Mehboob Khan’s Roti.

Actor Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time his friend Chandra Mohan also left Minerva Movietone ( reason – inspite of Pukar-39 being a Blockbuster, his salary was not increased, though Modi had promised him so.) They both decided to launch their own company and on 16-3-1942, SILVER FILM COMPANY was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Naseeb-45, Devar-46, Dhun-53 and Bahana-60. Kumar had acted in these films. He also directed Dhun and Bahana.

One of his last appearances was in Ramesh Saigal’s film Shaheed-48. As Rai Bahadur Dwarka Nath, he played father to Ram, who was portrayed by Dilip Kumar. His character in this film, initially supports the British Government, but later favours the Freedom struggle. Chandra Mohan’s last major film was Raambaan-1949, in which he played the role of demon emperor Ravan. Chandra Mohan had acted in 31 films in all from Amrit Manthan-1934 to film Chocolate-50, which was released after his death.

Chandra Mohan despite being a Kashmiri himself was against Kashmiri girls working in films. He is said to have intimidated actress Shyama Zutshi from working in Hindi films and she left the films. However, later when Yashodhara Katju came into the films, she did not care for his opposition and continued successfully in films. He was very friendly with actor Motilal and treated him as his son.

He was the original choice to play the lead role in K. Asif’s Mughal-e-Azam, but due to his untimely death the film had to be reshot after ten reels were shot with him as lead. The film was eventually released in 1960.

Chandra Mohan took to heavy gambling and drinking and died penniless on 2nd April 1949 at the age of 44 at his residence, Bilkha House, in Bombay.

The story of Bade Nawab Saheb-44 was …….

Nawab Kokub Mirza had 2 wives, but he loved the younger one so much that he even tolerated her younger brother Mushir, a trouble maker. Sikandar was Mirza’s younger brother and they had an old loyal servant Baksho. Sikandar marries an orphan girl-Anwar from an orphanage. On this count, the younger wife and Mushir are able to throw Sikandar and Baksho out of the house.

Sikandar goes out of Lucknow to look for a job. His wife, unaware of the relations, starts working as Maid in Nawab saheb’s house. Mushir tries to misbehave with the modesty of Anwar and is thrown out of the house. Now the nawab is closer to Badi Begum, who convinces him to recall Sikandar. Nawab calls Sikandar and also pardons Mushir.

Now Mushir wants to poison Nawab saheb. He adds poison to his Kheer. Unfortunately, the Kheer is eaten by his sister, the young Begum. She dies and Police arrest Mushir. Now the 2 couples live happily !

Today’s song is a duet by Hamida and Durrani. This is the second song of this film to feature on this Blog. (Thanks to information from books mentioned in the post, which is used herein)


Song-Jaag gayi Jaag gayi Hamaari kismat (Bade Nawab Sahab)(1944) Singers- Hamida Bano, G M Durrani, Lyrics-Shams Lakhnavi, MD- Bashir Dehalvi
Both

Lyrics

Jaag gayi
Jaag gayi
Hamaari
kismat
Hamaari kismat
jaag gayi
Jaag gayi
Hamaari kismat

prem nadi mein josh jo ??
bhai ne bhai ko bulaaya
prem nadi mein josh jo ??
bhai ne bhai ko bulaaya
chhant gaye
zulf ke baadal saare

samjho chaand sitaare
chhant gaye
zulf ke baadal saare

samjho chaand sitaare
chaand sitaare
sachchi
ulfat
sachchi
ulfat
jaag gayi
jaag gayi
hamaari
kismat
hamaari
kismat
jaag gayi
jaag gayi
hamaari kismat

toote huye phir dil milenge
toote huye phir phool khilenge
toote huye phir dil milenge
toote huye phir phool khilenge
kaun
khilenge
sachchi
ulfat
sachchi
ulfat
jaag gayi
jaag gayi
hamaari
kismat
hamaari
kismat
jaag gayi
jaag gayi
hamaari kismat


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.

Blog Day:

4488 Post No. : 16010

Tanvir Naqvi – 48th Death Anniversary on 01/11/2020
——————————————————————

Geet
————
Kahaan tak sunoge kahan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Huzoor aap par ek jahaan ki nazar hai
Nigaah-e-karam se bhi mujh ko ye dar hai
Jahaan ki nazar mein kahin aa na jaaun
Kahaan tak sunoge kahaan tak sunaaun

Zamaana huaa hai muhe muskuraaye
Muhobbat mein kya kya hain sadme utthaaye
Kise yaad rakkhoon kise bhool jaaun
Kahaan tak sunoge kahaan tak sunaaun

Duaa hai yahi kuchh zabaan tak na aaye
Muhobbat ka shikwa bayaan tak na aaye
Jalen zakhm dil ke magar muskuraaun
Kahaan tak sunoge kahaan tak sunaaun
Kahaan tak sunoge kahaan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Tanvir Naqvi
Courtesy: rekhta.org

This is the profile reproduced from Rekhta.org :

Tanveer Naqvi’s lineage traces back to a family of poets who originally came from Iran. With a family immersed in poetry, literature and arts, Naqvi came to be influenced by the poetry of dissent against the British Empire.

Naqvi started as a lyricist in the Hindi film industry in the 1940s, starting his career with Swami (1941). He wrote the lyrics for close to 200 films before moving to Pakistan. He was married to renowned singer and actress Noor Jahan’s sister, Eidan Bai. The big hits of his career include Mehboob Khan’s musical hit Anmol Ghadi (1946) and Jugnu (1947) which were each the highest grossing Indian films of the respective years. Anmol Ghadi (1946) has some of the most memorable melodies in Hindi Cinema. Few people know that Mohammad Rafi was introduced to the Hindi film industry by Naqvi. He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricists of Urdu and Punjabi films. His patriotic number sung by Noor Jahan during the 1965 war “Rang Laayega Shaheedon ka Lahoo” became extremely popular.
A collection of his poetry has been published under the title ‘Sunahre Sapne.’
He died on November 1, 1972 in Lahore.

If Tanvir Naqvi wrote songs for 200 films in India before migrating to Pakistan , at a guess his songs tally should be around 400, again guessing at an average of 2 songs per film. 85 songs are so far posted in the blog. So here is one more person who we need to thank for introducing Mohammad Rafi to the hindi film industry.

Shri. Shalin Bhatt Sir has commented on the youtube link of this song that there are 3 singers in this song, Khan Mastana, G. M. Durrani and Mohammed Rafi with Chorus. I agree with this, because I thought there are two different voices singing the second and third portion of the song. Rafi sahab has only two lines to sing independently and in another line in mukhda, he is accompanied by G. M. Durrani(?).

At the time of writing this post in 2018, I was hard at work trying to confirm the details of credits. That when I remembered that one of my cousin who has been in UAE for 3 decades now, once mentioned that Tanvir Naqvi’s son was his colleague, once upon a time, but it has been years since he shifted back to Pakistan. I asked my cousin at the time, if he could get in touch with the son, perhaps to confirm about the song. But it seems, the contact is lost, with no common friends/colleagues links.

This is the third song from Laila Majnu (1945) to be posted in the blog. All songs of this film are written by Tanvir Naqvi and music composer in Govind Ram. So this is one more of the many songs from 1940’s by Rafi sahab which are yet to be posted, as a tribute post for Tanvir Naqvi on his remembrance day.


Song-Sakhi ki khair maayi babaa ki khair teraa Allah nigehbaan ho (Laila Majnu)(1945) Singers-Mohammed Rafi, Khan Mastana, G. M. Durrani, Lyrics-Tanveer Naqvi, Music Director- Pt Govind Ram

Lyrics

Sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan
ho o o
Allah nigehban ho
sakhi teraa maula nigehbaan ho
ho oo
Allah nigehban ho
sakhi teraa maula nigehbaan ho
Allah nigehban ho
sakhi teraa maula nigehbaan ho
sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho oo

chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
samajh samajh kar chalna bande
duniya musaafirkhaana hai
ye duniyaa musaafirkhaana hai
ye duniyaa musaafirkhaana hai
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo

haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
de de maula naam (? ?)
teraa Allah nigehbaan ho oo

dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
bhar de pyaala apne karam se
meri duaa lenaa aa aa
bhar de pyaala apne karam se
meri duaa lenaa
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho


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.

Audio

Video

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 :

4433 Post No. : 15868

Today’s song is from the film Gumashta-51. This was a film by S M Yusuf, the producer and Director, under his own banner Aaina Pictures, Bombay. The music Director was K.Datta aka Datta Korgaonkar. This style of nomenclature especially by Marathi composers was started first by the successful C Ramchandra aka Ramchandra Narhari Chitalkar. Till he changed his name, when he had joined Jayant Desai in 1943, C Ramchandra used to write his name as Ram Chitalkar. Besides these two Music Directors, there were some more like N Dutta or Dutta Naik, SbPurushottam or Purushottam Solankurkar and C Balaji or Balaji Chougule. Off hand, I can remember only these names.

The cast of the film was Nigar Sultana, Wasti, Kuldip Kaur, Baby Tabassum, W M Khan, Husn Banu, Ismail, Nurjehan Sr, Mirza Musharraf etc etc. There were 9 songs in the film written by Raja Mehdi Ali Khan, Wahid Qureshi and Noor Lucknovi.

The title of the film is Gumasta- spelt differently as Gumastha or Gumashta etc. How many of us really know what the meaning is of the word Gumasta ? The simple meaning is ‘ Agent ‘. Actually, this word came into use when the British East India Company appointed people to collect Protection money from the rich people as a ransom. Thus, they became agents. Later on, this was the name used for anyone who came for collecting money. For example, Rent collector from the house owners, Bill payments from the shop keepers, doctors and other suppliers of goods and services.

Our filmmakers were quite imaginative. They solved their problem of giving titles to their films, by opting for those who did specific jobs, like say Pandit ji, Munimji etc etc. Out of just curiosity a cursory look at the catalogue of film titles, which is otherwise a very prosaic document, I found that films were titled for various Service Providers.

Let us see some Film Titles…. Pandit ji, Munim ji, Gyani ji, Gurudev ji (but not Guruji ? injustice !),Chowkidar, khazanchi, Daak Babu, Band Master, Bank Manager, Barrister, professor, School Master, Minister, Chief Minister, President, Boss, Body Gaurd, CID Inspector, Inspector, Boxer, Chaandaal, Daroga ji, Daaku, Dalal, Detective, Director, Dancer, Doctor, Durban, Fauzi, Film star, Gawaiya, Gramophone singer, Hero, Heroine, Jadugar, Jagirdar, Jasoos, Jailor, Jallad, Joker, Juari, Kavi, Police, Postman, Pujari, Qaidi, Raisaheb,Senapati, Taxi Driver, Typist Girl, Ustaad etc etc.

This information only confirms that our filmmakers are very imaginative and the films made in India are on varied topics. With this kind of angle to look at the film catalogue, hitherto unthought of, provides insight into film making, surely !

The producer director of film Gumasta-51, S M Yusuf was one of the very few people from Indian film industry, who became very successful in Pakistan. After his last film Mehendi-58 in India, he migrated to Pakistan, and remade this film as Saheli-60. It was released on 23-12-1960. It proved to be a great Super Hit film and offers piled up with Yusuf. Later, he also made a remake of Indian film Gumasta-51 as Bahurani-69. It was released on 4-7-1969. This was also successful. Lastly, he remade Indian film Nek Parveen-46, with the same name. It was released on 5-12-1975. This film, however, did Average business. In all he did 13 films in Pakistan. In today’s film Gumasta-51, his own wife Nigar Sultana was the Heroine.

In the cast two names-Wasti and W M Khan- are actors about whom not much is known. I feel the younger generation may not have heard their names even.

Riyasat Ali Wasti was born in 1912, at Naagao in U.P. His father was Citi magistrate, a judge and Dewan of the state. The family was well known in Bundelkhand area. After graduating from Ambala, Wasti did service for 7 years in the PWD of Punjab. He wanted to join films and he became a Hero in New oriental Films, Lahore’s ” Premyatra”-37. His Heroine was Umarazia Begum,later on the wife of Ghulam Haider. He acted in Bombay’s films like Baghban,Industrial India,Pati Patni, Rikshawala,Thokar , Qaidi, Nartaki, Kudmai(Punjabi), Awaz, Nai Duniya, Sharda, Namaste etc. He was a fixture for Kardar films.As a Hero he did many films. In all he had acted in 63 films. He sang 5 songs in 2 films also-Rikshawala-38 and Pati Patni-39.

In the 50s he acted in 11 films. In 60s and 70s he did 20 films. His roles in jab pyar kisi se hota hai and Phir wohi dil laya hoon may be known to many.His last film was kasam-76. Two films produced by him in 1952 and 56 flopped. Last 20 years of his life were spent in penury and anonymity. In his last years,he was often seen begging near liberty cinema in Bombay. He died on 15th April 1996.

Old timer Wasti, who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in the forties and many Punjabi & Hindi movies later on, was passing through a bad phase . Nasir Saheb honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon.

Actually Wazir Mohammed Khan is a name which will be always mentioned, whenever Hindi Talkie films are chronicled. He was the FIRST on screen singer in the first talkie film- Alam Ara-1931. W.M.Khan was a Pathan. His first film was ‘Alam Ara’-31 and his last film was also Aalam Ara-73. He sang a song in the first film and again the same song in the similarly titled film Alam Ara-56. I saw him on the screen for the first time in the film Kabuliwala-61, in which he lip synched the famous song ” Aye mere pyare watan…”. W.M.Khan acted in 105 films. He sang 6 songs in 4 films, namely Alam Ara-31, Sair e paristan-34, Dard e dil-34 and after 22 years he sang his first song again in film Alam Ara-56- though no record was issued for it, even here !

When he acted in the third version of Aalam Ara in 73, he became the first male actor to have worked in 3 films with the same title, from the very first Talkie film. The next and the only other actor to achieve this feat was Ashok Kumar, who acted in Kangan-39, kangan-59 and kangan-72. The only female actress to achieve this feat was Sulochana ( Ruby Meyers) who had acted in Anarkali-28, Anarkali-35 and Anarkali-53.

W.M.Khan died on 14-10-1974, in Bombay.

Today’s song is a comedy duet sung by Shamshad Begum and G M Durrani. Almost all songs of this film are very good.


Song- Tera gora gore gaal humko ekdum pasand hai (Gumaashta)(1951) Singers-G M Durrani, Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD- K.Datta
Unknown male voice

Lyrics

Tera gora gore gaal
Tera gora gore gaal
humko ekdum pasand hai
hoy tera honth laal laal
humko ekdum pasand hai
ekdum pasand
Tumhre gora gore gaal
ye lipstick ki baaliyaan
tauba hai tauba hai
hoy hoy hoy

ye aankhen chaai ki pyaaliyaan
tauba hai tauba hai
aay haay

oy tauba
oy tauba
ye London ka maal
ye London ka maal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

hua hai ya nahin hua hai
shaadi aap ka

mere shaadi nahin hua
hua thha mere baap ka
hum ekdum kunwaara hai
ekdum kunwaara hai
bundle to nahin maara hai
bundle to nahin maara hai

naay naay naay naay
tumhaara dekh bhaal
tumhaara dekh bhaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal

zara humse door rahiye jee
ye dil churaaye maal hai
dil churaaye maal hai

aisa na kaho memsaab
hamaara bura haal hai
jee hamra bura haal hai
tumhra bura haal
tumhaara bura haal
humko ekdum pasand hai
ekdum pasand hai

tumhre gore gore gaal

aa aa aa aa
aa aa aa aa aa
lalalalalalala
teri nazar to mere gore mukhde par nisaar hai
lekin
pati hamaara kahta hai
hum ekdum ganwaar hai
hum ekdum ganwaar hai

na
gadha hai
arre bewaqoof hai
kahaan hai wo
khabar loon
us manhoos beimaan ki
bhala gadha kya jaane
kadr ?? kuraan ki
tumaara ye khayaal
tumaara ye khayaal
humko ekdum pasand hai
ekdum pasand hai saab

tumhaara intkaal
tumhaara intkaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
tumhra gora gora gaal
humko ekdum pasand hai
haan munna
tera honth laal laal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal


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:

4352 Post No. : 15666

Today’s song is from the film Kaneez-49. The film had 12 songs. 11 songs are already posted. This is the last song of the film to be discussed here.

HFGK mentions mukhada of this song as ” Dil bechane nikla hai”, sung by Durrani and Rajkumari. There are at least two uploads of this song on YouTube. One is from our Sadanand Kamath ji and the other is from Saregama company. In both uploads, the first line is missing and the song starts as ” dil le lo, dil le lo”. However in the Saregama upload,, in the end , the words are ” dil bechane nikla hai, dil ka saudagar, dil le lo dil le lo”, confirming that this is the same song as mentioned in HFGK. As such, Girdharilal Vishwakarma ji has uploaded this song on Surjit ji’s site, from his record. So, there is no doubt.

Film Kaneez-49 has an interesting history of its making. As per an advertisement in a film magazine, this was first being made with a title of ” Tehzeeb”, by producers S A Shah and Krishan Kumar, for their Carvaan Pictures. It was to be directed by K D Mehra. Shatir Ghaznavi wrote the dialogues and lyrics. Due to the partition announcement. Krishan Kumar shifted to Bombay, with the incomplete film. After the partition, with a new set of actors, the film was redone and titled ‘ Kaneez ‘. Remaining dialogues were written by Hasrat Lucknowi. This time Krishan Kumar himself directed the film and released it in India and Pakistan. The film was a Hit.

Besides director Krishan Kumar, there were 2 MDs- Ghulam Haider and Hansraj Behl. Four lyricists wrote the songs. The cast of the film was Shyam, Munawwar Sultana, Urmila,Kuldip Kaur, Cuckoo, Ramayan Tiwari, Ramesh Sinha and others.

The shooting of Kaneez was in full swing in 1948 at Shrikant Studios. On another floor of that studio, a stunt film of Master Bhagwan was being shot. Isak Mujawar, Film Historian, has described an incident of that time, in his book on Master Bhagwan-” Ek Albela “. Actor Shyam was very friendly with Master Bhagwan. In those days, Shyam had grown very close to M.Sultana. One day, during a shooting break, shyam and Munawwar met Bhagwan and said,” I am very keen to work in your film”. Bhagwan smiled and said,” Before that, you must see the shooting of my films. After that, let us see what will be your decision.”

Accordingly, the next day Shyam and M.Sultana went to see the shooting of the film ” Laalach “,made by Bhagwan. The scene was Baburao pehelwan fighting with 5-6 goons, on the balcony of a house. The scene started and after some time Baburao got a hit from one villain and he slipped, falling on the ground floor where a glass table was kept. On impact, the glass table broke. There was a loud noise, commotion and shouting. Shyam and Munawwar shouted in fear and ran out of the studio. Such accidents were common to Baburao.After treating his bruises and cuts, Baburao started the fighting scene again. Shyam and M.Sultana came back to inquire about the actor’s fate. They were shocked to see him doing the fighting scene. On asking, Bhagwan told Shyam, ” In my films, such accidents are a common thing. And yes, you said you want to work in my films, isn’t it ?” Shyam said,” No , No, who wants to die doing stunts ?”. Bhagwan told him,” Be happy in doing Love scenes and singing songs in your films”. By a turn of fate, with 2 year’s time Shyam died doing a stunt for film ‘Shabistan’-51 !

In the cast, you will see Cuckoo. In those days, Cuckoo was an attraction in any film. Both Azurie and Cuckoo were in great demand. Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.

Cuckoo started appearing in films from the mid forties. She started as a child artiste. Her first film was Anjaan-41. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.

Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.

Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in the film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and 67 songs were shot on her.

Cuckoo, the legendary cabaret queen of Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protege Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”

Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki, MuVyz, book ‘Edwina’ and cineplot).

Today’s song (despite the missing first line) is a good duet by G M Durrani and Rajkumari. Sadanand ji opines that the female singer is Shamshad Begum. With this song film Kaneez will be ‘ Yippeed ‘, with all its songs covered.

(I thank Sadanand Kamath ji for information about the film’s original avatar).


Song-Dil bechne nikla hai dil ka ik saudagar (Kaneez)(1949) Singers- G M Durrani, Unknown female voice, Lyricist- Shatir Ghaznavi, MD- Ghulam Haider
Both

Lyrics

dil le lo
dil le lo
dil le lo
dil le lo

o o o o
thahar saudaagar
aisa dil main khoj khoj ke haari ee
thahar saudaagar
aisa dil main khoj khoj ke haari
jo dil preet mein jalna jaane
uspe sadqe waari
jo dil preet mein jalna jaane
uspe sadqe waari

dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
par aise de doon (??)bhi kya hai
dogi kitne daam
par aise de doon (??) bhi kya hai
dogi kitne daam
o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
o o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
tan bhi doongi
man bhi doongi
jeewan doongi apna
o o
tan bhi doongi
man bhi doongi
jeewan doongi apna

aa aa aa
?? jhoothhi aasha
sachchi teri preet
dil ki baazi naqda naqdi
jeet gayi tu jeet
main teri main teri baalam
tu mera tu mera aa

ham tum donon yoon mil jaayen
jaise saanjh sawera
ho o o
ham tum donon yoon mil jaayen
jaise saanjh sawera

ab meri jabaan pe na aayega
kabhi dilbar
ab meri jabaan pe na aayega
kabhi dilbar
dil bechne nikla hai
hai ik dil ka saudaagar
dil le lo o
dil le lo
dil le lo o
dil le lo


This article is written by Arunkumar Deshmukh, 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 :

4315 Post No. : 15597

Today’s song is from Dolti Naiya-1950. This film was made by Shaan E Hind Pictures, Bombay. It had music by Pt.Ram Prasad Sharma. The film’s 10 songs were written by a record number of 8 Lyricists and were sung also by 8 singers. In those days, it must have been a record, I guess. The cast of the film was Amarnath, Nigar Sultana, Shyama Dulari, Veena Kohli, Cuckoo, Bhudo Advani, Mukri, Mirza Musharraf, Munshi Munakka and others.

When I was in school, every year a “Self Governance Day” used to be celebrated in our school. I do not know whether this was a practice elsewhere. On this day selected senior students of class 12th standard used to run the school. Head Master, Supervisor, Sports teacher, Teachers and even Peons’ roles were done by the students themselves. When I reached 12th standard, I was very eager to become a Teacher on this day. I was made a teacher of English language of 7th standard and was given a lesson to be taken on that day. All students looked forward to run the school and become teachers on this day.

I think, this feeling of ruling or being in authority is in every field as a dormant wish. A Clerk looks forward becoming a Manager and a Manager wants to become General Manager. An MLA wants to become an MP and MP wants to become a Minister. Film industry is not too different. Every actress wants to become a Heroine, and actors dream of becoming Director some day. There are several examples when all this has actually happened.

Many successful and famous actors have tried their hand at being a Director of a film ( conversely, many directors also were eager to act in a film. Even such examples are there). Few examples of some actors directing films are Dev Anand-19 films ( he takes the cake), Shammi Kapoor-2 films, Balraj Sahni-1 film, Rajesh Khanna-1 film. Even Comedians like Asrani-5 films and Deven verma-4 films are into this. The case of comedian Radha kishen, who produced a film and when it flopped due to delay and loans mounted, committed suicide.

Some examples of old time actors are Prem Adib-1 film, M.Kumar-2 films, Shahu Modak-1 film. Among actresses, from Fatma Begum-8 films to Hema Malini-4 films, examples are less. Surprisingly, leading actors like Amitabh Bachhan, Dilip kumar, Sanjeev kumar etc never went this way. I wish Dilip kumar had become a Director openly rather than making his directors’ lives miserable by interfering in their work, as a nasty habit.

Mirza Musharraf was a comedian of old times. Though he was successful as an actor, he too wanted to become a Director. Today’s film Dolti naiya-50 is his attempt at directing a movie.

In my quest for information on old time actors and other artistes, I came across many good and some not so good experiences. When I first interviewed Ramesh ji, Bhudo Advani’s son, he told me that their family friend Mirza Musharraf’s daughter also stayed nearby. I took her address and reached her house. Her husband did not allow me to meet her, as they were Muslims, and perhaps because it was my first visit to them. When I explained what I wanted, he expected some money. I told him that this is my hobby and I do not do this for money, he was very skeptic. However, after my persistent visits to him,he relented. Her husband, Mr. Muneer Khan,( now deceased) ex production manager of Firoze Khan, gave me some information.

The name of MIRZA MUSHARRAF AGHA may not ring any bells in the newer generation, as he was a comedian in the 30s and 40s-till the late 60s.
During the 30s and 40s there were quite a few real comedians, who regaled the audiences with their humour. Comedians like V.H.Desai, Ghory and Dikshit (the jodi like Laurel and Hardy),Mirza Musharraf, Bhudo Advani, Noor Mohd.Charlie, Yakub (he had travelled to 15 countries including UK and USA,before joining films) and Gope, Fatty Prasad and Durga Mota were much in demand for comic roles in the films.With the times,one by one,all went behind the curtains, giving way to newer set of comedians like Bhagwan, Sunder, Radhkishen, Mukri, I.S.Johar, Majnu,etc. Nowadays, of course, Comedians have disappeared from films, because almost everyone in a film does Comedy, these days.

Artistes fading away is a natural phenomena, but out of the above comedians, the end of Durga Mota was very pathetic and touching.
Durga Mota or Durga Prasad was very fat and this fatness which fetched him name and fame in the industry also became the cause of his death. In 1947,there were riots everywhere. Durga was in Lahore. He wanted to come back to India like other thousands.He came to Lahore station and boarded the train. Just then a frenzied mob came to the station and started killing the passengers. People ran helter skelter and saved themselves, but due to his fatness Durga Mota could not run and he was slaughtered on the station of Lahore itself.

Mirza Musharraf was born in a sophisticated educated family, on 12-6-1912, at Shujanabad-Punjab. His father was an inspector of Police and claimed to be a scion of the Royal Mughal family. He matriculated from Lahore in 1930. He was keen on becoming a Journalist, so he worked in Daily Zamindar, Tariyaq and Shahid. He was a Nationalist, joined Congress and became Secretary of Lahore Congress committee. He was imprisoned but father got him released. He decided to change profession to films.

He got a small role of a party guest in film ” Qazak ki beti-37′, which was being made by one of his acquaintances in Lahore. His second film was Prem Yatra-37. These were uncredited and insignificant roles, but they gave his clever mind a good idea of film line and acting.

A R Kardar who was into films was known to him in Lahore. Kardar took Mirza to Calcutta. There he acted in film Milap-37. The Hero was Gul Hamid,who died in between and was replaced by Prithviraj Kapoor. Mirza also acted in film Mandir-37. When Kardar shifted to Bombay, he too shifted.

He was very fond of writing Lyrics.He came to Bombay to write film songs and was employed by General films.Those days educated persons were eagerly employed by film studios. He first wrote Lyrics for A.R.Kardar’s film “Baghbaan”-1938. This was the film in which K N Singh did his first role as a villain. In this period, Mirza got married also.

During shootings Kardar required an artist and Mirza was called to fill up the slot, as per the studio norms. Mirza had no dialogues, but he exhibited excellent use of facial expressions and comic timing.This actually killed his dream of becoming a lyrics writer, because after that he was made a comedian and got several films. As a comedian,Mirza worked from 1938 to 1972,working in over 400 films. His last film was Roop tera Mastana-1972, where he was credited. Later he made appearance in films like Pathar se takkar-80 and Anjaam khuda jaane-89 uncredited.

When he was on the peak of his career,a happy producer gave his Bungalow at Versova free to him for living.Though Versova was then quite far off and sparsely populated, Mirza lived there like a king.The marriages of both of his daughters took place there.

Mr.Sanjeet Narwekar-the famous Film historian/journalist writes in his book, The story of Hindi Film comedy,about Mirza”. His specialty was interspersing his Hindi dialogues with English words-quite a curiosity in the pre-independence days. He was almost a permanent with V.M.Vyas and played cameo roles in a fairly long career.” According to Saadat Hasan Manto in his book,stars of another sky, -whichever film he acted, he used to be the darling of the Heroes. He was particularly liked by Kardar, K.Asif and Rafiq Ghaznavi. In many films Mirza lip synched songs, but only in ONE film,he got to sing himself. That was the film Gharib ka laal-1939, in a duet. He also sung few lines in film Piya Milan-45 and CAPTAIN KISHORE-1957. He sang along with Mohd.Rafi and Tun Tun.

In one of the interviews Mirza gave to magazine Shama, in August 1981, he described some of his experiences in the film world. This interview is a part of the book ” Ye un dinon ki baat hai” written by my friend Yasir Abbasi. Here are few of his stories. In Bombay, he got to know Nazir-actor, director, producer and owner of Hind Pictures studios, and his nephew K.Asif (Mughal-E-Azam fame). Asif did no work, so Nazir opened a Tailor’s shop for him, but still he did nothing. His interests were different.

Mirza also came closer to director S M Yousuf. Mirza was present in his marriage to actress Nigar Sultana. Mirza describes how K.Asif eloped with Nazir’s wife (and his Mami- aunt) Sitara Devi. Asif later married Yousuf’s wife Nigar Sultana also. Still later Asif married Dilip kumar’s sister too. Asif was notorious in such matters.

Mirza knew Mohd. Rafi since Lahore days. When Rafi came to Bombay, Mirza introduced Rafi to many film people. Mirza claims that Rafi’s first Hindi recorded song was from film Kul Kalank-45, ” Topiwale Babu’ – a duet with Amirbai Karnataki. This song was shot on Mirza and Amirbai on screen. Rafi, it seems, got Rs. 75 for this song. Mirza acted in film Grihasthi-48, which became a Hit film, running for 105 weeks in Bombay. In a public poll, Mirza got a second prize for acting in this film (first was Yaqub) and he got a Gold medal of 3 Tolas. In his difficult days, Mirza sold it, says he.
There are many more anecdotes he describes, but may be some other time.

Mirza Musharraf died in 1991.

Film Industry is one industry which grew very fast. Firstly, there was no competition (except from AIR for entertainment) and secondly, joining this industry needed no special qualifications. Moreover, from the beginning, the ROI (Returns On the Investment) ratio was quite high,once you took care of few parameters like, good actors, good songs and a mix of Romance and Comedy !

Thousands of aspirants, the Good looking, the Bad looking and the Ugly looking rushed to Bombay, Lahore and Calcutta to try their luck. Tawaifs and stage artists had an easy entry, so was for the Handsome and Muscular bodied males.

The studio system took care of grooming its employees. Most people were hired without any specific job description. When needed, the script writer or the Lyricist had to act in the film, and Choreographer-Dance Master in those days-had to take up Direction- if needed. Artists graduated from menial jobs to important positions.That is how Choreographer Guru Dutt became a Director and a Hero, Lyricist and writer J.S.Casshyap became actor/singer, or Amiya Chakrawarty became famous Director from being the Canteen Manager in Bombay Talkies, Ashok kumar became Hero from being a Technician in Camera Department and an Extra working as one of the 40 thieves in ” Alibaba and 40 Thieves”-1929, became the Movie Mughal, Director Mehboob Khan.

Those times were different.Industry needed people in all departments. Heads of Studios were like expert jewellers. They knew how to nurture talents. Successful strugglers had empathy towards existing strugglers and gave them opportunity to showcase their skills. Studios got right persons for right jobs. Real Talents survived, rest disappeared.

There were many One timers, who acted in only 1-2 films, directed just 1 film, produced 1 movie, sung only few songs or gave music to only 1 or 2 films. Luck also played an important role. Artists seeking opportunities in Music Departments like singing and composing were many. Most got chances,few prospered.

But it is important to note that every One timer was contributing towards Industry’s growth. Like every drop makes an ocean, these one timers or short distance runners also gave their might to the industry. Those who disappeared after a short performance remained alive through their contribution on record. Hundreds of aspirants came to become Music Directors, only few made the grade, survived and the rest simply vanished.These short time passengers or composers had their time of glory too. Their songs were cherished but their names were forgotten.

Before I proceed further, can you tell me what is the common link in the following names ?

Pyarelal-Ganesh-Naresh-Mahesh-Anand-Gorakh

They are all brothers and sons of Pandit RAMPRASAD SHARMA. He is the Music Director of today’s film Dolti Naiya-1950.
.
Pt.Ramprasad Sharma, born in 1900, belonged to Gorakhpur in United provinces(today’s U.P.). Seeing his love for music, he was brought to Bharatpur State by the king’s bandmaster. He played Trumpet here, then played in Agra Military Band and ended up joining a Circus as a Band Master himself. He toured Delhi, Lahore and Calcutta ,where he settled for some time.He married a local Post Master’s daughter and also worked for Columbia and New Theatres. By now he was an expert in 10 instruments and knew all Ragas.

He came to Bombay in 1938 and played in many studios. His first film as MD was Nayi Baat-1947, then Taqdeerwale-48, Shakti-48, Bedard-49, Banu- 49, Anyay-49, Dolti Naiyya-50 and finally Magic Carpet-64.

His knowledge of Music was so deep that many Composers like,Kalyan ji, Roshan, Uttamsingh, Hridaynath Mangeshkar etc came to him to learn notations in which he was a master. Probably, having played as a Band Master helped him.Those days, very few musicians knew how to write music in Notations. This art was carried further by his another son Ganesh.

Despite his knowledge of music, he failed as a composer himself and worked/played for other Music Directors like Naushad, K.Dutta, C. Ramchandra etc. His trumpet playing in the famous song of Rafi ” Suhani raat dhal chuki” (film Dulari-1949) is unforgettable.

Pt.Ramprasad will be remembered by many composers as their teacher. His music was melodious, his Luck was not too kind on him, though.

His two sons Pyarelal and Ganesh became famous composers.

Pt.Ramprasad died on 22-8-1995 at Mumbai.

Today’s song is a very melodious one – as such, I like Durrani as a singer. He has sung one of the best songs of Hindi films, in my opinion (Neend hamari, khwaab tumhare-Nai kahani-1943). Pt. Ramprasad’s tune and music is just superb. To give such a music in 1950 was in itself an achievement. When I hear today’s song, I feel a similarity to Talat’s song ‘ Meri yaad mein na aansoo bahana” from film Madhosh-51. I may be wrong also. Alas, Film industry does not go by quality, it goes by measurable success in terms of popularity of songs. Whom to blame, music lovers or the industry ?
Enjoy the song.


Song- Meri zindgi bhi koi zindagi hai (Dolti Naiyya)(1950) Singer- G M Durrani, Lyricist- Zafar Malihabadi, MD- Pt. Ram Prasad

Lyrics

meri zindagi bhi koi zindagi hai
na dil mein umangen na lab par hansi hai
meri zindagi bhi

kiya hai muqaddar ne barbaad aisa
kiya hai muqaddar ne barbaad aisa
jidhar dekhta hoon nahin koi apna
jidhar dekhta hoon nahin koi apna
nahin koi apna
nazar ik zamaane se badle huye hain
meri zindagi bhi

mere dil ko hardam dukhaati hai duniya
mere dil ko hardam dukhaati hai duniya
tadapta hoon main muskuraati hai duniya
tadapta hoon mai muskuraati hai duniya
muskurati hai duniya
mujhe kis khata par saza mil rahi hai
meri zindagi bhi

sunaata raha laakh ghamon ka fasaana
sunaata raha laakh ghamon ka fasaana
kisi ne magar dard dil ka na jaana
kisi ne magar dard dil ka na jaana
dil ka na jaana
zamaane ne kab bekason ki suni hai
meri zindagi bhi koi zindagi hai
na dil mein umangen na lab par hansi hai
meri zindagi bhi


This article is written by Arunkumar Deshmukh, 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 :

4299 Post No. : 15558

Today’s song is from film Bharat Milap-1942. It is sung by G M Durani and the music is by Shankar Rao Vyas, for lyrics written by Pt.Indra.

Few years back, I remember, Dr. Surjit Singh ji had published a list of 7000 names of actors, who had acted in films from the beginning till up to the year 2000. He had found this list on a site which was no more existing. I had meticulously copied that list on my Laptop, in the year 2010. Since then, I have changed my Laptop 3 times and now I do not find this list with me anymore. God knows when it got deleted or was left out uncopied, sometime.

Of course, that is not the point at all. I wonder how so many people joined an industry which did not provide any security, nor did it assure continuous earnings. Leave aside the stigma of working in” films” in olden times, but this industry neither had permanent jobs nor a fixed income. Take a look at any film-Silent or Talkie-only a handful people were credited. Later in the Talkie films, this list became larger. One can see this in any volume of HFGK of 30s or 40s. But then, if you exclude the names which got repeated in films, the total list of actors may not cross 2-3 thousand,perhaps.

Barring the main and known actors, most other actors are not even identifiable for the general public. Names without faces! Such actors constitute the bulk of numbers in the industry. If you take a look at the cast of a film, more than half of names are unknown or known by only repeat value in many films. These names have no faces. Information about them is not available in any books. They remain only names, replaced by other names after few years. The extras or junior artistes who are seen on screens in many scenes, throughout the film are also members of the industry.

There are some groups on Fb, who have experts among them. These people keep on identifying obscure faces on screen scenes and name them. One glaring crusader in these specialists is M N SARDANA ji, who writes short notes about almost unknown actors seen on the screen as judges,lawyers, police inspectors, beggars, villain cronies and people in such insignificant roles. Hats off to him and people like SANDEEP PAHAWA ji, whose comments are lapped up by readers. I may be one of the dedicated readers of their notes and comments on Fb.

Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?

This actor was I.T.Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.

This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.

I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, MDs etc. Some of them are Omkar Devaskar, Zunzar rao pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.

I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.

Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.

Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.

One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).

Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra, Sinhagadh etc.

After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.

He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra, Subah ka tara, Parchhain, Teen batti char rasta, Toofan aur Diya, Z Z Payal baje. Earlier he did Aapki sewa mein, prarthana,Nal Damayanti, Seedha Rasta, Gokul, Apna Ghar, Maharathi karna, Seeta Swayamvar. He worked in pyasa, Mera Naam Joker, Amar prem etc etc. From 1928 to 1970 he acted in over 250 films.

His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu moshoi)

Film Bharat Milap-42 was directed by Vijay Bhatt (12-5-1907 to 17-10-1993). The film was made under their own banner Prakash Films. Prakash Studios was built in 1934 at Andheri. The first film to be made there was ‘Actress’ (Bambai ki Mohini), written and produced by Vijay Bhatt. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were produced in various genres, in black and white as well as colour.

Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari),the name Baby Meena.

He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films. O K Dar Kashmiri was given the name ” JEEWAN “, when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films. Suraiyya got her big singing role in Station Master-42. Manoj Kumar was made hero in Himalaya ki God mein-65.

Today’s song is from film Bharat Milap-42. This was a Bilingual film in Hindi and Marathi(as Bharat-Bhet). Main characters were Prem Adeeb as Ram, Shobhana Samarth as Seeta and Shahu Modak as Bharat. Durga khote was Kaikeyi, Vimla Vashishta was Manthara and Nimbalkar as King Dashrath.

The story of Bharat Milap is too well known and it is to the credit of Bhatt brothers that they kept the story line true to original,supported by several books and curators as well as scholars. This was the first major mythological film of Prakash and they did not spare efforts or money to raise spectacular sets, costumes and war scenes ( when Bharat is attacked by Nishad raja’s army).

It was a delight to see this film. There were no scenes of Miracles. I saw this film in its second run, sometime in the end of 40s, but the memories are still fresh. In fact this film became a benchmark for all subsequent mythological films, in my mind. Shahu Modak, who was Bharat in this film, was popular as Krishna in such films.

Editor’s note:-This song is the 200th song of Pt Indra chandra as a lyricist in the blog.


Song-Raam chale Raam chale ban chale Raam Raghuveer (Bharat Milaap)(1942) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Shankar Rao Vyas

Lyrics

Ram Chale
Ram Chale ae ae ae ae ae
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
kahaan Janaki Janak dulaari
kahaan Janaki Janak dulaari
kahaan laadla Lakshman re
kahaan laadla Lakshman re
jhoole thhe jo phool hindole
jhoole thhe jo phool hindole
aaj chale kantak ban re
aaj chale kantak ban re

ho gayi sooni
aaj Ayodhya aa aa
soona Saryu teer
soona aa aa Saryu teer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer

roko o o
koi roko o
rathh roko hey purwaasi
jaate hai punya pravaasi
hote hain kyun banwaasi
hote hain kyun banwaasi

gayi khushi ee ee
aur rahi udaasi

Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Shree Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Raghukul ka bhaagya badalta hai
Raghukul ka bhaagya badalta hai
ugta sa suraj dhhalta hai
ugta sa suraj dhhalta hai ae ae
praan chale hain sang Raam ke ae
soona pada shareer
soona pada aa aa shareer

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

राम चले
राम चले ए ए ए ए
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर
कहाँ जानकी जनक दुलारी
कहाँ जानकी जनक दुलारी
कहाँ लाडला लक्ष्मण रे
कहाँ लाडला लक्ष्मण रे
झूले थे जो फूल हिंडोले
झूले थे जो फूल हिंडोले
आज चले कंटक बन रे
आज चले कंटक बन रे

हो गई सूनी
आज अयोध्या॰॰आ॰॰आ
सूना सरयू तीर
सूना॰॰आ॰॰आ सरयू तीर
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर

रोको ओ ओ
कोई रोको ओ
रथ रोको हे पुरवासी
जाते हैं पुण्य प्रवासी
होते हैं क्यों बनवासी’
होते हैं क्यों बनवासी’

गई खुशी॰॰ई॰॰ई
और रही उदासी

राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
श्री राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
रघुकुल का भाग्य बदलता है
रघुकुल का भाग्य बदलता है
उगता सा सूरज ढलता है
प्राण चले हैं संग राम के
सूना पड़ा शरीर
सूना पड़ा॰॰आ॰॰आ शरीर


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 THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) 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

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Movies with all their songs covered =1325
Total Number of movies covered=4609

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