Posts Tagged ‘Ghaayal’
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.
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Today’s song is from the film Ghayal-1951.
There were 2 films with the title Ghayal. One in 1951 and the other was in 1990. In addition, there were 8 films with titles having the word Ghayal as its beginning. These 8 films were made in 8 years, from 2006 to 2014. Ghayal -1951 was produced and directed by Ramchandra Thakur ( 17-12-1908 to 31-12-1992), who started his career as a director , with Sagar Movietone’s film ” Gramophone Singer”-1938. He was an educated person, an author and a thorough gentleman. His last film as a director was ” Nawab Sirazuddaula-1967″.
The cast of this social film was Shaikh Mukhtar, Sulochana Chatterjee, Jawahar kaul, Geeta Bali, Ram singh, P.Kailash and many others, which included big names of the Silent and early Talkie films-like Pesi Patel, Rewa shankar Marwadi, Yeshwant Dave etc. It was the kindness of the producer-director Ramchandra Thakur that he used to give roles to such ” carried forward’ artists from the silent and early talkie era in his films. He was himself from that era.
One of the names in the cast was that of yeshwant Dave, who was a popular hero in silent films of Wadias and others of his ilk. To get information on such old artistes is extremely difficult, as in their heyday social media, TV, YouTube and film magazines were not existent and later on, when they fell on bad times, no one was interested in them. However, some historians wrote about them in titbits and collectively some information was available on a few old artistes. One such actor was Yeshwant Dave.
It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.
Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent THUNDERBOLT (aka DILER DAKU) featuring Mumtaz as the heroine.
Yashwant was again directed by Wadia in TOOFAN MAIL (1932) and there after became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include BHARAT VEER (1932), JADUI JUNG (1934), BOMBSHELL (1935), VASANTBENGALI (1937), FLYING RANEE (1939), MAGIC CITY (1940), TORPEDO (1941), BAHADUR (1944), ROYAL MAIL (1946), and KAUN PARDESI (1947).
Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in SHEIKH CHILLI and MAKKHEE CHOOS both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.
The film had 11 songs written by 7 lyricists and sung by 6 singers. G.M.Durrani had 2 solos and 2 Trios with chorus. His 2 solos are simply marvellous. all his songs are on this Blog. 3 out of his 4 songs are discussed by me. The Music Director was Gyan Dutt. One of the 6 singers was BHOLA. Many people think that it is Bhola Shreshtha, but it is not so. Bhola was the pseudonym of Music Director Bulo C Rani.
Bulo C Rani was such a composer whose best is buried under the debris . When the slow paced melodious music was replaced by the fast paced
rhythmic melodies, Bulo suddenly lost his relevance as a composer. He lived in a state of hibernation for so long that his death – a suicide – on 24th
May 1993 at 73 was reported as if it was a matter of no big consequence. The eventful career of Bulo C Rani in the 40’s and the early 50’s was forgotten.
Bulo c rani was born on may 6, 1920 in Hyderabad, Sindh and his original name was Bulo Chandiramani Ramchandani. His father Chandiram was also a composer and composed for the film Insaan ya shaitan[1933]. Incidentally, this was the first film in which our National Anthem “Jan gan Man…” was composed. Bulo obviously grew up in a musical atmosphere and hence in a way, it was not surprising that after graduating, he went to Lahore with the express intention of composing for films and joined Ghulam Haider for a while he came to mumbai in 1942 with D N Madhok and joined Ranjit films to assist Khemchand Prakash and later on to Gyan Dutt. Independently he gave music to Ranjit films from 1945 onwards only.
Khemchand gave him a break as a singer in 1942 in Mehman. in 1942 Gyan Dutt also gave him an opportunity to sing. In 1943 he got six films to sing in. In all he sang 34 songs in 19 films. O JOGAN O BAIRAGI in the film Shankar Parvati [music by Gyan Dutt] was very popular. In 1944 he composed for Pagli Duniya. He composed for the film murti-45. In it Badariya Baras Gayi – which mukesh’s first song as the composer often claimed with pride – won popularity. Before that in film Paigham-43. 2 songs are credited to him. An important thing is, Bulo sang in Pagli Duniya-44 as BHOLA and subsequently he sang as Bhola. Most people credit these songs to composer Bhola Shreshtha, which is wrong. BHOLA is Bulo C Rani.
Bulo composed for 71 films, and composed 574 songs.
His music was not highly original, but it successfully exploited the intrinsic acceptability of conventional forms such as bhajans, or the newly circulating patriotic musical idioms, which appealed to certain stock responses.
One wonders whether he was more adequate as a singer than a composer – at least when he began his career as an actor – singers had singing voices!
Mukesh, after his initial failure as a singer, drew attention only when he sang for Bulo in ‘Moorty’ ( ‘Badariya baras gai us paar’/with Hamida and Khursheed/1945 )
The film ‘Jogan’ (1950) was a landmark in Bulo’s career. His composing skill enabled him to enhance the inherent charm of Meerabai’s traditional bhajans such as ‘ghoonghat Ke Pat Khol re’, ‘Main to giridhar Ke ghar jaaoon’, ‘Damag damag dole naiya’ and ‘ Jogi mat ja, mat ja’. Even the Holi song (‘Rang daaro ri’) and the sentimental one in the voice of Talat (‘Sundarta Ke Sabhi Shikari’) were no less appealing. More than Dilip Kumar and Nargis in the film it was Bulo’s music which turned out to be the real star.
Before ‘Jogan’ came his way Bulo had already earned recognition through the films such as ‘Rajputani’ (‘Ja parwane ja kahin shama jal rahi hai/Mukesh, hamida and ‘Anjuman (‘Kaise bataoon tum se is dil ko pyar kyun hai’/Shamshad, Mukesh) and the immense popularity of the song ‘Armaan bhara dil toot gaya’ (‘Wafa/Lata, Mukesh)
Bulo C Rani had a special fascination for heavy voices which were capable of more expressive power. For the same reason he was able to create a great impact on listeners with the voices of Amirbai (‘Sooni padi hai payar k duniya tere baghair’/ ‘Caravan’).Zohra (‘Aankhon mein intezaar Ki duniya liye hua’/’Carvan’) and geeta Roy(Dutt) in the songs of ‘Jogan’. Bulo did not hesitate to create an enchanting melody in the song ‘Badi bhool hui tujhe pyar kiya’ in ‘Maghroor’. Geeta Dutt was his favourite singer. He gave over 60 songs to Geeta alone.
‘Bilwamangal’ (1954) was the last significant film of Bulo c Rani. Suraiya sang one of her most memorable songs ‘Parwanon se preet seekhli, shama se seekha jal jaana’ and so did C.H. Atma in ‘Panghat pe more shyam bajaaye muraliya’.
Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958), Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.
It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.
In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the later half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press.
Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.
Many of the old time artistes met with tragic deaths. Actor singer Parshuram, Singer actress Vatsala Kumthekar, Actress singer Rajkumari, Khan Mastana, G.M.Durrani, Pradeep Kumar, Leela Chitnis, Shanta Hublikar, Master Nissar, Shankar Dasgupta, Madholal Master, Vasant Desai, Rattanbai and many other artistes of yore met their death in unfortunate circumstances. Deaths of Nalini Jaywant and Lalita Pawar were found after 3-4 days. They certainly did not deserve such ends. But then, Fate is like that !
Today’s song is sung by Bhola. The song is attributed to Lyricist M.G.Adeeb.
Song- Lag gayee chot raama lag gayee chot(Ghaayal)(1951) Singer- Bhola Shreshtha, Lyricist- M.G.Adeeb, MD- Gyan Dutt
Lyrics
lag gayi chot raama
lag gayi chot
haan aan
lag gayi chot
lag gayi chot
karejwa mein haaye raama
lag gayi chot raama
lag gayi chot
laagi naahin chhoote raama
laagi naahin chhoote
laagi naahin chhoote raama
laagi naahin chhoote
karejwa ki chot
karejwa ki chot raama
lag gayi chot raama
lag gayi chot
mad barsaate nainon ne ae ae ae
ye kaise teer chalaaye ae
tadpe man ka ghaayal man ??
munh se nikle haaye
dil mein kisi ki preet basat hai
aag lagat hai hook uthat hai
dil mein kisi ki preet basat hai
aag lagat hai hook uthat hai
kis kal chain na aaye
haaye
kis kal chain na aaye raama
kis kal chain na aaye raama
lag gayi chot raama
lag gayi chot
bas hi gayi jab nas nas mein aen
tasveer kisi ki kya kahne
preet ki meethhi peer bani
taqdeer kisi ki kya kahne ae ae ae
jamuna kinare gin gin taare
kaatenge ab rain bechaare
jamuna kinaare gin gin taare
kaatenge ab rain bechaare
kaun inhen samjhaaye
haaye kaun inhen samjhaaye raama
kaun inhen samjhaaye raama
lag gayi chot raama
lag gayi chot
laagi naahin chhoote raama
laagi naahin chhoote
karejwa ki chot
karejwa ki chot
haaye karejwa ki chot
haaye karejwa ki chot raama
lag gayi chot raama
lag gayi chot
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.
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Blog Day : |
5562 | Post No. : | 18029 |
Today’s song is from the film Ghayal-1951.
This social film was produced and directed by Ramchandra Thakur. The music was by Gyan Dutt. In this film, there were 11 songs-including a 2 part song-but unusually there were 7 Lyricists whose songs were sung by 6 different singers. While 5 singers were well known, the sixth name ” Bhola ” was unknown. For a long time no one knew who this Bhola was. Many people thought that Bhola was Bhola Shreshtha, the M.D., but it’s not true. This Bhola was Bulo C Rani,M.D. He joined the industry to be a singer. Khemchand Prakash gave him an opportunity to sing in the film Mehmaan-1942. Later, the same year,Gyan Dutt also gave him songs.Bulo C Rani sang 34 songs in 19 films – initially in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, with the film Moorti-1944.
Bulo C Rani was a Science graduate. In those days of early cinema, most people who joined the film line were less educated and mostly from lower middle class or poor families. Not ALL of course. There were few highly educated actors, directors, MDs etc but their number was much less. Actresses like Renuka Devi, Vanmala, Nalini Tarkhad etc. were graduates. Actors like Ashok kumar and Ranjan were graduates. Artistes like Dewan Sharar, Devika rani and Shakuntala Paranjpye had International experience, they wrote books also. Director Nanubhai Vakil and actor Surendra were BA,LL.B.
Coming back to film Ghayal-1951,all songs were good. There were 2 solo songs by one of my favourite singers- G.M.Durrani. If there is a contest to rate the male singers of films, I would include G.M.Durrani in the First 3 singers. The other two would be Rafi and Kishore Kumar. I know some of my friends may not become happy, but the personal choices differ from person to person. It certainly does not mean that other singers were any less liked by me, but the difficulty is, you can’t have 5-6 names in the ” First 3 ” !
Bombay (now Mumbai) was a Maya Nagari for millions of wishful film aspirants from the beginning of Talkie films. Those who joined this industry could be categorised into 3 types….
1. Those who joined and succeeded. They fulfilled their desire to become what they wanted. Many artistes in this category had a filmi background. The rest were the luckiest and those who did hard work to get what they wanted. Some examples- Kapoor khandan, Dev Anand, Lata, Rafi, Bimal Roy etc.
2. ” Jaate the Japan, pahunch gaye cheen” walas. Those who joined to become actor, singer, Lyricist etc, but became something else in the industry and succeeded to a great extent in their compromised career. Some examples Talat, Mukesh, Kanhaiyalal, Mirza Musharraf, Kishore Kumar etc.
3. Those who joined but soon realised that this field was not for them and left as soon as possible. Some examples- most wellknown classical singers and Instrumentalists. One example was that of Mukund Rai Trivedi. He was the joint M.D. of the film Gogola-1966, with Frank D’souza (Frank and Rai). After this film Trivedi left films and joined the family business of Mining in M.P. He prospered therein.
The Maya of Bombay was such that some artistes lived a life like a Prince, but died like a Pauper and in a very bad state. Here are some such cases. In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
Master Shiraz……….During his good times, he had learnt the art of Massaging, as a Hobby and this became his last straw for survival. When film roles were not available, he used to roam about with his kit and do Massaging to earn a living. After doing about 26 films, till Naiya-47, he stopped getting credited in the cast. Now he worked as an extra.
He was last seen in film Guddi-1971- doing massage to Omprakash in one scene. In that film, Dharmendra tells Jaya Bhaduri (Guddi) that Master Shiraj was a star in silent film era. Director Hrishikesh Mukherjee ensured that Shiraj got his name in the film credits of Guddi-71.
Master Shiraj was just one of those unfortunate film artistes who spent their end-time in a very pathetic manner. Some other examples are- actor/singer Parshuram- died on road as a beggar, Singer Vatsala Kumthekar- died on road as a mad beggar,Wasti was seen begging near Liberty cinema and Rattanbai was seen begging near Haji Ali. There are many more such stories. The world of films is the most unpredictable and unless the artiste is wise to secure his future, there is no light at the end of the tunnel !
Film Historian Nalin Shah and Jankidas Mehra have written separate articles and described how film artistes died in penury. Some of the artistes they wrote about were Parshuram, Shanta Hublikar, Cuckoo, Master Nissar, Jaidev, Ghulam Mohd., Saraswati Devi, Rajkumari, Shetty, Chandra Mohan, Mazhar khan, S.U.Sunny, V.M.Vyas, Mahesh kaul, Sulochana (Sr.),Vimi, Vatsala Kumthekar and many more.
Why I wrote about all tragedies here is because my favourite singer G.M.Durrani also faced the same fate. He went to the Top and then went down lower than the bottom in the end.
Ghulam Mustafa Durrani, often abbreviated as G. M. Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director.To his credit, He tried to make his own identity as a playback singer and not try to follow the K. L. Saigal type of singing. G. M. Durrani was notable for Sad songs, Romantic songs, Patriotic songs, Quraan Khani, Qawwalis, Ghazals and Bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. G. M. Durrani was also the most senior Punjabi singer-actor at that time.He was radio drama artist and full-time Singer of Lahore station, Delhi station and Mumbai station of AIR (Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.
Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtuns) and belonged to the Mohammad Zai Durrani Kabila. His was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay (Mumbai) as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.
His mother expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger. His mother was expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.
The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected Composer and Actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within didn’t stayed long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.
In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first then to Bombay. He came to Bombay (now Mumbai) on 14 April 1935. In Mumbai, he got somehow job at Mumbai Radio Station and from here he got recognition. Filmwallahs started calling him to sing.
His singing career started from AIR (Akashvani (radio broadcaster)). Durrani was discovered by film producer Sohrab Modi. Modi gave him his first chance around 1935-36 in the movie Said-e-Havas, a historical under the music director, classical musician Bundu Khan popularly known as “Taan-Talwar” Bundu Khan.
When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a “Kanjar”. Minerva was to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani (radio broadcaster)).
Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Begum Akhtar.
He later shifted to the Mumbai Radio Station where he met a big personality at the time, whom he considered one of his ustad (master), Station Director of Bombay station of AIR (Akashvani (radio broadcaster)), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani called Ustad to Zulfiqar Ali Bukhari for honour. (Z. A. Bukhari, was the Station Director of Delhi station and Bombay station of AIR (Akashvani (radio broadcaster)). After the Partition of India and creation of Pakistan, Bukhari was made first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation).
G. M. Durrani’s salary which was fixed at Rs 40 per month was soon fixed. Here he was working as a Drama Artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films.
Later 1939-40, when the concept of playback singing started he was the first to lend his voice for a film titled Bahurani. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani (radio broadcaster)). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs.75 for the song as against his salary of Rs.70 a month at AIR (Akashvani (radio broadcaster)). He then chucked up his job on 31 December 1940 and decided to concentrate fully on his film career.
Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and A. R. Qureshi (Better known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like Mirza Ghalib, Humlog, Magroor, Shama, Namaste, Sabak and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.
He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film Gaon ki Gori (1944) for Shyam Sunder, “aji dil ho kaaboo mein to dildaar ki aisi taisi” with G. M. Durrani and chorus.
Geeta Dutt also started her career in her break through movie Do Bhai with the song Aaj Preet Ka Naata toot gaya, a duet with G. M. Durrani for S. D. Burman.
Similarly, Haye Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was Lata’s first song for composer, Naushad.
Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film Kurmai (Punjabi-1941) took Durrani as his assistant and later gave him the film Angoori (1943) as music director.
G. M. Durrani was very famous as radio drama artist of Delhi station and Mumbai station of AIR (Akashvani (radio broadcaster)).
In the period of K. L. Saigal – Surinder, Khan Mastana and G.M. Durrani were also famous. G. M. Durrani was one of the 40s famous playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the K. L. Saigal type of singing. G. M. Durrani was a legendary Bollywood playback singer. His singing style was to inspire Rafi and others in the years to come. Later G. M. Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.
Mohammed Rafi was influenced most notably, by G. M. Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte” (Beqasoor, 1950).
G. M. Durrani considered his first famous song was ‘Duniya mein sab jode jode’ of the film “Sharda” (1942) composed by Naushad.
The song Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare, that made him a real rage was however composed by Shyam Sundar for his movie Nai Kahani. This song sung most part by G. M. Durrani with some support by child-star Balakram was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema:-
Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.
There was a time when G M Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with Throat Cancer,poverty and loneliness. His end was quite pathetic.
G M Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs,like Asit Baran. Karan Dewan, Ashok kumar, Prem Adeeb, Arun Ahuja, Balwant singh, C H Atma, Ishwarlal, kantilal, K L Saigal, Pahadi Sanyal etc etc. There were of course few Playback singers like Khan Mastana, S D Batish, A R Oza, Balbir etc,but they were no competition to Durani at all.
Because of this, some singers were jealous of him and there was an attempt to poison him with Mercury Chloride ( sindur) given in a Paan by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastana in this incident as the culprit. Before he could confess, which he wanted to, it seems, Mastana died in absolute poverty and in total neglect near Mahim Dargah. Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.
After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally,when the losses mounted, he sold off the business in loss.
In his last days, Durani had Throat cancer. He was looked after well by his sons and daughters. In his last days,he was interviewed by the famous writer shri Rajnikumar Pandya ji. After I came to know shri Pandya ji,he kindly gifted me a CD containing the last interview ( just one day prior to his death) of Durani. So I have not only Durani’s real voice,but also a song he sang from his deathbed for this interview ! Thanks to shri Pandya ji. G M Durani, in that last interview claimed that he had helped both financially and professionally two rising singers-Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.
G M Durani sang many memorable songs like, ‘Haath seene pe jo rakh do to karar aa jaaye’, with Noorjehan in Mirza Sahiban-47, ‘Lara Lappa’ with Lata in Ek thi Ladki-49, ‘Nazar na phero humse’ with shamshad Begum in Deedar-51, ‘Gaaye chala jaa’, with Lata in Hum Log-51, ‘Humko hanste dekh zamana jalta hai’ with Rafi in Humsab chor hain-56. Durani sang about 300 songs. His last song came in ‘Lal Pathar’-71.
G M Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film Nazare-1949. ( This is primarily based on the details from Shri Rajnikumar Pandya ji’s book ” Aap ki Parchhaiyan “. My thanks to him. Also thanks to Listeners’ Bulletin No.70 of Sept.1987, together with my own notes.)
Let us now enjoy a melodious song by Durrani from this film……
Song-Ae muqaddar mujh pe itni kis liye naaraaziyaan (Ghaayal)(1951) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Gyan Dutt
Lyrics
ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r
ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r
chal pada hoon main akela aur na manzil ka pata
chal pada hoon main akela aur na manzil ka pata
har kadam par rokti hain kyun mujhe naakaamiyaan
har kadam par rokti hain kyun mujhe naakaamiyaan
ae muqaddar r
kya kahoon kis’se kahoon
kaise kahoon kya dil mein hai
kya kahoon kis’se kahoon
kaise kahoon kya dil mein hai
sunke hans dega zamaana aansuon ki kahaaniyaan
sunke hans dega zamaana aansuon ki kahaaniyaan
ae muqaddar r
ae dar o deewaar tum
ae dar o deewaar tum
ho kisliye haale-tabaah (?)
pad gayin kya tumpe bhi bolo meri parchhaaiyaan
pad gayin kya tumpe bhi bolo meri parchhaaiyaan
ae muqaddar r
ae muqaddar mujhpe itni kisliye naaraaziyaan
le rahi hain kyun teri tirchhi nazar angdaaiyaan
ae muqaddar r r r
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.
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5264 | Post No. : | 17270 |
Today’s song is an interesting Trio from an old film Ghayal-1951.
The cast of the film was Sulochana Chaterjee, Shaikh Mukhtar, Geeta Bali, Jawahar Kaul, Ramsingh, p.Kailash, pesi Patel, Honey O’Brien, Yeshwant Dave, Rewa Shankar Marwadi and many more. There were 7 Lyricists for 11 songs of the film (one of them is a 2 part song). Likewise there were 6 singers. The M.D. was Gyan Dutt. All the singers were well known, except the singer ‘ Bhola’.
Many people think that Bhola was Bhola Shreshtha, the M.D., but it’s not true. This Bhola was Bulo C Rani,M.D. He joined the industry to be a singer. Khemchand Prakash gave him an opportunity to sing in the film Mehmaan-1942. Later, the same year,Gyan Dutt also gave him songs.Bulo C Rani sang 34 songs in 19 films – initial in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, from film Moorti-1944.
Bulo C Rani was a Science graduate. In those days of early cinema, most people who joined the film line were less educated and mostly from lower middle class or poor families. Not ALL of course. There were few highly educated actors, directors, MDs etc but their number was much less. Actresses like Renuka Devi, Vanmala, Nalini Tarkhad etc. were graduates. Actors like Ashok kumar and Ranjan were graduates. Artistes like Dewan Sharar, Devika rani and Shakuntala Paranjpye had International experience, they wrote books also. Director Nanubhai Vakil and actor Surendra were BA,LL.B.
Ramchandra Thakur, Producer and Director of film Ghayal-51, was also from Elite and highly educated class. He also wrote articles in magazines – before and after his film career. Ramchandra Thakur was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join the film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.
When he did not get First class, he joined Sagar Movietone, in its Marketing department. After a few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for the film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of the film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40. Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote the script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.
He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.
I do not know about the storyline of the film Ghayal-51. One of my favourite actors – Jawahar Kaul – acted in this film. He was a very handsome fellow and had an unique style of acting. It was his bad luck that he could not prosper or become “A” grade actor, as in his period the competition was severe and there were many better actors operating then.
Jawahar Kaul was born in a Nehru family on the 27th of September in the year 1927 in the place revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to portray supporting characters in big films. He made his debut while playing actor Kishor Sahu’s younger brother in the 1945’s ‘Veer Kunal’. In this year, he was seen in the role of ‘Humayun Mahawat’ in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in the flick ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.
In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, ( brother of stunt film actor Navin Yagnik), the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like Azadi Ki Raah Par, Apni Chhaya, Kathputli, Pehli Jhalak, Laal Batti, Sahib Biwi Aur Ghulam, etc. He was a legend of the Black and White Cinema. He was a superstar in the films made in the 1960s. Throughout his career, he worked only in a few selected flicks, but he was able to efficiently enrapture the audience’s attention.
Jawahar was never happy about his career- the way it went. He had wanted it to be more successful. Anyway after his last film Zalim-1980, he left acting and joined as a Production Manager with Jwala Pictures of Sandeep Sethi. After two years he became his Secretary for the next 17 years. Meanwhile he produced a film-” Agniputra “, with Mithun Chakravarti. It took a long time to finally release in 2000. Not only was it a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. He died peacefully in Andheri,Mumbai, on 15-4-2019. Till the end, he looked after his school and college ‘ Children’s welfare Centre’, nearby.
Jawahr Kaul acted in 31 films starting from a small role inGeet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.(Thanks to Beete Hue din Blog).
Like most artistes, the music Directors of the early cinema had a tough time in their later life. Music of their era and style was no longer saleable due to the changing tastes of the people. Newer and younger MDs had a tough competition themselves. Thus these oldies were helpless. Damodar Sharma became assistant to Laxmikant Pyarelal, Madholal Master started his business of making Puppets (His Joker’s puppet was used by Raj kapoor in his film ” Mera Naam Joker”), Vithaldas Panchotiya, Krishnarao Chonkar, Badri prasad, Rewa shankar Marwadi etc. started doing small roles in films to sustain life. B.R.Deodhar opened a Music school.
Rewashankar Marwadi had acted in today’s film Ghayal-1951. I tried very hard to get some information about Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.
Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Gyan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.
Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949). After 1949 only, he started acting in films.
Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of MDs as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the H-B team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available. Numbers aside, but lack of enough knowledge about the early films and artistes has led to much injustice to the Pioneers, for sure !
Today’s song is a Trio, sung by G M Durrani, Geeta Roy and Meena Kapoor along with Chorus. The song is in 2 parts recorded on one single record-on both sides. HFGK mentions it as 2 separate songs, but today’s song is the combined version running for more than 6 minutes. Durrani’s voice was suitable for soulful songs- like Talat. However personally I feel he was better than Talat, though Talat got more popular songs than him. Durrani acted in 16 films, wrote songs for 1 film (Nazare-49), gave music to 8 films composing 48 songs and sang 305 songs in 168 films.
Song- O Rani Mainavati sun mera sandesh (Ghaayal)(1951) Singer-G.M.Durrani, Geeta Roy, Meena Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Gyan Dutt
Lyrics
madan janak mrug manimay
hararararara daude
manjul vachan vilohit
?? kaaya
ahahahaha
latan tatan mrug manimay
?? sunil ??
??
?? sunil ??
??
?? sunil ??
??
O Rani Mainawati
sun mera sandesh
O raja pyaar kiya
bisra do ye des
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o duniya milne na degi
milne na degi
dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
chalo doon khanjar barchha
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
jo apna rasta rokegi
jo apna rasta rokegi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
sainyya padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
hamaari chalne na degi
hamaari chalne na degi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
bhes badal kar naar naweli
chali yaar ke sang
naak kataa kar kahaan jaayegi
?? karoon ??
daiyya o daiyya
o daiyya daiyya daiyya
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
laal ?? mein chali chhabeeli
Thakur chala ??
laal ?? mein chali chhabeeli
Thakur chala ??
yaar ke tukde kar de chaar
uthha le ?? sardaar
teri ?? hai makkaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o o paaji raajkumaar
aa aa aa aa aa aa
arre o paaji raajkumaar
meri dulhan ka ??
arre o paaji raajkumaar
meri dulhan ka ??
saamne aa le kar talwaar
saamne aa le kar talwaar
teri gardan doon abhi utaar
teri gardan doon abhi utaar
Thakur chhod de ae
pardesi ko kar le mera haath
Thakur chhod de ae ae
pardesi ko kar le mera haath
duniya hansne na degi
duniya rone na degi
duniya hansne na degi
duniya rone na degi
chain se marne na degi
kisi ko milne na degi
chain se marne na degi
kisi ko milne na degi
Thakur chhod de ae ae
pardesi ko kar le mera haath
Thakur chhod de
o raani
main na ??
aa gaya main aaj
sachcha tera yaar hai
tera Rajkumaar
dekh do tukde hai talwaar
malaniya kar inka singaar
dekh do tukde hai talwaar
malaniya kar inka singaar
mera ghoda sar se taiyyar
basaa lo tum apna sansaar
mera ghoda sar se hai taiyyar
basa lo tum apna sansaar
dekh do tukde hai talwaar
malaniya kar inka singaar
is ghode par baithh ke
jaao donon door
Raja Rani ek hain
?? ??
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Pyaar tum mujhse karti ho
Posted on: October 19, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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4841 | Post No. : | 16629 | Movie Count : |
4530 |
Hullo Atuldom
The song with this post is heavily inspired by this song. This 1973 song which was sung by Kishore Kumar had Dharmendra trying to pacify his upset love Rekha. He resorted to all kinds of buffoonery to get a smile on her face and also get her to admit her love for him
In today’s song Kishore Kumar’s son Amit Kumar is the voice for Dharmendra’s son Sunny Deol. Sunny is running behind a ‘roothhi’ Meenakshi Seshadri and trying to get her to re-admit her love. So, the situation is like this. Just before this song, Sunny -who is a boxer for his college- has been reprimanded by his coach (Viju Khote) for day-dreaming about Meenakshi. Consequently, he refuses to acknowledge when she comes to meet him at his coaching camp. Later, when Sunny goes to meet her at a cafe, she pays him back in the same coin and also gathers public support citing that he is eve-teasing her. Now, it is the duty of our naayak to ‘manao’ a ‘roothhi’ naayikaa.
Hence this song which is written by Anjaan and composed by Bappi Lahiri. As I have said in the previous paragraph the male voice is Amit Kumar’s and S. Janaki sings for Meenakshi Seshadri. This marks the debut of “Ghayal” (as written in the titles of the movie). This 1990 movie starred Raj Babbar and Moushumi Chatterjee as Sunny’s bhaiyya and bhabhi. Amrish Puri played Balwant Rai (the villain) with Kulbhushan Kharbanda, Om Puri, Ashalata, Shafi Inamdar, Annu Kapoor etc in supporting roles. There were a few actors like Shabbir Khan, Sudesh Berry and Mitwa who played Sunny’s support in his mission to expose the wrong-doings of the big-time businessman Balwant Rai. Disco Shanti had a dance number too.
I am writing this post to wish the ‘dhai kilo ke haath’ wala, hand-pump ookhadnewala (uprooting a hand-pump), strong dialogue delivery wala, son of Dharmendra and Prakash Kaur- Ajay Singh Deol a.k.a Sunny Deol- on his birthday today. . It is apparent from his recent movies that he is a huge fan of his father. He has acted in three editions of a movie whose title was inspired by a famous song of his father from the ’70s- the Yamla Pagla Deewana series. He also chose another of his father’s song from the ’70s to use as a title for a movie that he directed to launch his son Karan in Bollywood- Pal Pal Dil Ke Paas. Additionally he has acted with his father in ‘Sultanat’, ‘Apne’ and a few more.
Happy birthday Sunny Deol.
Video
Audio
Song-Pyaar tum mujhse karti ho (Ghayal)(1990) Singers-Amit Kumar, S Janaki, Lyrics-Anjaan, MD-Bappi Lahiri
Lyrics
pyaar tum mujhse karti ho
don’t say no
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
nahin nahin nahin
main tumse pyar nahin karti
haah haah
pyaar tum mujhse karti ho
don’t say no
bol bol bol bol bol sachh bol
teri hansi se saari khul gayi pol
jahaan jahaan jaayegi main aaoonga vahaan
bhaagi kahaan yeh saari duniya hai gol
peechha tera chhodoon na
bol bhi de ab haan haan haan haan
arrey baba bola na
main tum se pyar nahi karti
hmmm
chhodo gussa jaane do
na
don’t say no
dil se dil mil jaane do
na
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haa haa
chhodo na na
pyar tum mujhse karti ho
don’t say no
dekho dekho dekho
kaisa pyaara hai samaa
dil ke deewaane miley khul ke yahaan
tod ke dil yoon na rooth ke jaa
varna kasam teri de doonga jaan
thham jaaye na dil ye jawaan
bol bhi de ab haan haan haan
arey jiyo chahe maro
mera peechha mat karo
ai
arey jiyo chahe maro
mera peechha mat karo
oye
mar gaya to pachhtaogi
don’t say no
ro ro kar mar jaaogi
don’t say no
inkaar mein ikraar hai
ye pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no
main bolta hoon haan
maan bhi jaao varna
shor machaoonga
cheekhoonga chillaaoonga
logon ko bulaaoonga
logon suno suno zara meri daastaan
pyaar mein guzrikya mujh pe yahaan
ogo suno suno zara meri daastaan
pyaar mein guzari kya mujh pe yahaan
jaan meri leke bhagemeri jaan
lut gaya
mit gaya
mar gaya haan haan haan haan
hadd ho chuki
kar na dukhi
bol bhi de ab ha ha ha ha
haan baba haan baba
I love you, I love you
pyaar main tumse karti hoon
I love you
marti hoon tum pe marti hoon
I love you
tum jeete aur main haari
I love you
jaan gayi duniya saari
I love you
I love you
I love you
hoo hoo ooo
pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
mere galey se lipat gayi re,
kismat meri palat gayi re
hey pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
bruu bruu ya ya
arre pat gayi re
pat pat pat pat pataa
pat pat pat pat pataa
pataa
haha
hoy hoy hoy
hey hey hey hey
Phool kisi ke haar kisi ka
Posted on: May 1, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3574 | Post No. : | 14319 |
“Ghaayal” (1951) was a Shri Navratna Pictures Production movie. It was directed by Ramchandra Thakur. The movie had Sheikh Mukhtaar, Ram Singh, Geeta Bali, Yashwant Dave, Pesi Patel,Jawahar Kaul, Sulochana Chatterji, Mirza Musharaf etc in it.
Four songs from this movie have been discussed in the past. Here is the fifth song from forgotten movie. This song is sung by Meena Kapoor. Saraswati Kumar Deepak is the lyricist. Music is composed by Gyan Dutt.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Phool kisi ke haar kisi ka (Ghaayal)(1951) Singer-Meena Kapoor, Lyrics-Saraswati Kumar Deepak, MD-Gyan Dutt
Lyrics
phool kisi ke
haar kisi ka aa aa aa
nain uthha kar dekho baalam
naach raha hai pyaar kisi ka
naach raha hai pyaar
bandhi hui thhi jin aankhon se
in aankhon ki dor
aaj wahi aise badli hai
lagi huyi kis oar
idhar bhi dekho roothe sajan
toot gaya hai taar nadi ka
kisi ka toot gaya hai taar
idhar bhi dekho roothe saajan
toot gaya hai taar kisi ka
toot gaya hai taar
phool kisi ke
haar kisi ka aa aa
nain uthha kar dekho baalam
naach raha hai pyaar kisi ka
naach raha hai pyaar
chaahe ghir ghir aaye badariya
kabhi na chhodoon haath
chaahe badli rahe nazariya
kabhi na chhoote saath
ho bairi
ho bairi
o bairi kyun badal rahe ho
sapnon ka sansaar
kisi ka sapnon ka sansaar
o bairi kyun badal rahe ho sapnon ka sansaar
kisi ka sapnon ka sansaar
phool kisi ke
haar kisi ka aa aa aa
nain uthha kar dekho baalam
naach raha hai pyaar kisi ka
naach raha hai pyaar
khushi manaaoon naachoon gaaun
?? muskaaun
piya tumhaare charnon par main chaand sitaare laaun
piya main chaand sitaare laaun
o nirmohi
o nirmohi
o nirmohi kyun karte ho
jeena bhi bekaar kisi ka
jeena bhi bekaar
o nirmohi kyun karte ho
jeena bhi bekaar kisi ka
jeena bhi bekar
phool kisi ke
haar kisi ka aa aa
nain uthha kar dekho baalam
naach raha hai pyaar kisi ka
naach raha hai pyaar
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The moment the image of Ameerbai Karnataki comes to my mind, I remember some of her most popular songs, mostly full of pathos, melancholy, and devotion. In fact, the most popular songs of her singing career come from these genres. She started her filmy career in 1934 as an actor-singer but realising that the potential for career as a playback singer was bright after the system of playback singing was introduced in Bombay film industry in 1937, she confined herself mainly to playback singing thereafter. After her songs in ‘Kismet’ (1943) became very popular, for the next five years or so, she remained one of the top playback singers. Of the total of around 375 songs she sang during her filmy career, more than 50% was accounted for during 1943-48.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Ghaayal” (1951) was a Shri Navratna Pictures Production movie. It was directed by Ramchandra Thakur. The movie had Sheikh Mukhtaar, Ram Singh, Geeta Bali, Yashwant Dave, Pesi Patel,Jawahar Kaul, Sulochana Chatterji, Mirza Musharaf etc in it.
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Hamen chaand laage pyaara pyaara
Posted on: January 31, 2013
“Ghaayal” (1951) was a Shri Navratna Pictures Production movie. It was directed by Ramchandra Thakur. The movie had Sheikh Mukhtaar, Ram Singh, Geeta Bali, Yashwant Dave, Pesi Patel,Jawahar Kaul, Sulochana Chatterji, Mirza Musharaf etc in it.
Read more on this topic…
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
This is the story of a 16 year old boy born in Peshawar in a conservative Pathan family for whom the association with film industry was a strict taboo. The boy was attracted to Bombay (Mumbai) as a destination. While listening to some Hindi film songs in one of the shops in Peshawar, a few of his friends coaxed him to try his luck as an actor in Hindi film industry since he had a good face. The fascination for Bombay coupled with the remarks from his friends were sufficient motivational factors for this youngboy to leave ( rather run away from) Peshawar for Bombay some time in 1935. The young boy was Ghulam Mustafa Durrani (1919-1988), later known in the Hindi film industry as G M Durrani, the playback singer.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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