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

Posts Tagged ‘Gulshan Soofi


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 :

3943 Post No. : 15019 Movie Count :

4116

Today’s song is from film “Saathi”(1946).

This title seems to be quite popular because, films with the same title were made in 1938, 1946, 1968, 1991 and 2005 as Saathi.Moreover one film called Saathiya was also made in 2002.

The first film Saathi-38 was a bilingual film, in Hindi and Marathi. This film was made by Mubarak Merchant. He was the Hero and the Heroine was Durga Khote. The Marathi version was titled “Savangadi” mening Partner or Saathi.

The 1946 film was made by Central Studios- partly owned by Mehtab, the film’s Heroine. While the film was in the making, Mehtab got married to Sohrab Modi on 28th April-1946, which happened to be her own Birthday also. She already had a son from her first marriage to actor Ashraf Khan ( who later on became a Soofi Saint). Her son Ismail, stayed with her and Modi, after her second marriage as per the understanding between the couple. Mehtab got one more son from Modi-Mehelli. He was raised as a Parsee. He settled in USA later on.

In this film, the Hero was Sadiq Ali, who was called ” Prince of Minerva ” and was Modi’s favourite. I have written about Sadiq Ali, recently, so I am not repeating it. The other cast of the film included M.Ismail, Jyoti, Badri Parshad, Gulab, Majid, Latika etc etc.

M.Ismail was born in 1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite. attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismail again played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. The Late M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyajee in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore.

The film was directed by M.Sadiq, who was one of the most successful Directors of Bombay who migrated to Pakistan in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.

Sadiq was a Cinematographer, writer,screenplay and dialogue writer,producer and director-all in one. He started his career with Thokar-39 as writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and few others. While working as kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab,Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.

After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. he wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq, whose first movie Namastey and another movie Sanjog, both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab, Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies.The prolific director,how ever ,was now passing through a lean phase & of late he had made light comedies, like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.

M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who fully equipped with muslim background and observation of even small presentation of voice, etiquette, religious etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had lion share to beautify the film. The movie proved to be the biggest hit earned lot more than other movies made by Gurudutt. M.Sadiq proved to be the saviour for Gurudutt.Gurudutt,not only came out of the cesspool of debt , but earned enough money to plan his next movie.

The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.

Riding on the peak of popularity ,after Bahu Begum,Sadiq Sahab left India & migrated to Pakistan.In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music and songs he signed Nashad & Shewan Rizvi,respectively.Both had already migrated to Pakistan from India.He started shooting at Lahore Studio.but a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses and celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit. M.Sadiq was destined to die at his birth place Lahore.

There were two more uncommon names in the cast- Majid and Gulab. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After Matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The lyrics were by Wali Sahab and the music was by Gulshan Soofi, about whom I have written recently. The song is sung by one of my favourite singers- G M Durani ( Ghulam MUstafa Durani). He was one singer who would make gold of a good melodious song anytime. I like almost all of his songs. I was very sad that his end came in very pathetic condition. Once an artiste is out of circulation in the film industry, he is quickly forgotten. I have not seen a more selfish and ungrateful industry in my life where no one even attends the last journey of a forgotten artiste.

This is a very good song, sung in even a better way. With this song, film Saathi-46 makes its Debut on the Blog.

( Thanks to cineplot, pakmag.com, wiki, cinerang, Filmdom-46 and my notes for information used herein.)


Song-Wo nazron mein samaate ja rahe hain ja rahe hain (Saathi)(1946) Singer-G M Durraani, Lyricist- Wali Sahab, MD- Gulshan Soofi

Lyrics

Wo nazron mein samaate ja rahe hain
ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain
Wo nazron mein samaate ja rahe hain
ja rahe hain

ye dil pehloo se nikla jaa raha hai ae
ye dil pehloo se nikla jaa raha hai ae
jaa raha hai
wo shaayad a a
paas aate ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain

main jitna aa
bhool jaana chaahta hoon oon oon
oon oon
wo utna aa
aa aa aa
aa aa
yaad aate jaa rahe hain
jabaan par haan
ishaaron mein meri
hai ae ae ae
jabaan par haan ishaaron mein meri
hai ae ae
wo deewaana banaate
jaa rahe hain
jaa rahe hain
hamen apna banaate jaa rahe hain
jaa rahe hain
Wo nazron mein samaate ja rahe hain
jaa rahe hain

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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 : 3932 Post No. : 15005

Today’s song is from film Zamane ki Hawa-52.

From 1-1- 2019 to 23-4-2019, I wrote 43 posts here and out of this, only 8 posts are about films of 1950’s decade. This is roughly 20% of my output in this period. If I calculate the number of posts of 1950s decade in my entire 750+ articles, then the percentage may hover around just about 10 % only, I am sure, though I have not calculated that. It is not that I deliberately avoided them, but the problem is, this Blog has covered most popular films fully and I guess, the maximum percentage of songs covered is also from the decade of 1950’s.

In such a case, I was not left with much scope and choice. Still, I wrote on many left out Gems. In fact, I ran few ‘Series’ too like ” Missing Gems from the 50s decade” with 18 songs and ” Bhajan Mala-Golden 50s” with 12 songs. There was yet another one also-” Shankar-Jaikishan in the 50s ” with 10 songs. However, all said and done, I will not hide the fact that I am very partial to songs from the 1930s and the 1940s. Discussing these songs- which is my Forte and also Comfort Zone, I get Nostalgic and I am able to share information on forgotten artistes of that era. Today, these posts may not mean much, but after I am gone and after a few years, I know that my posts will be the Researcher’s “Wanted list” and will be much sought after for their rare contents.

When I first heard today’s song, sometime in the early 1950s, I was in Hyderabad and had, till then, not been to Bombay anytime. The kind of language and the words used in this song are typically Bambaiya. I did not know it and we friends used to laugh at the lyrics and wordings of this and other similar songs ( of Johnny Walker, mainly). Over a period of time I realised that in Hindi film songs, the greatest victim is the language Grammar, pronunciation and diction of words.

Most lyricsts and composers twisted words to suit the Meters, Rhyming and never bothered about the gender of the words. Words like Tu, Tum,Hum, Mai, Aap, Voh, Un, Unhen etc were used irrespective of their suitability in the lyrics just because they fitted in Meters and rhymed perfectly. Once I realised this aspect, I and my friends started finding such wilful blunders in melodious and popular songs.

The reason I remembered all this is, few days back I found an article ” Vyakaran, Uchharan aur Utpeedan”( व्याकरण, उच्चारण और उत्पीडन), by shri AK ji, who is a reader and well wisher of this Blog, posted on his Blog – Songs of yore. He has written an absolute Gem discussing how in Hindi songs, the Grammar, pronunciation and right usage of language and words is molested/abused. He has also quoted several examples in songs. I strongly recommend this article to connoisseurs of HFM.

Film Zamaane ki Hawa-52 was a film made during the transition period of Hindi cinema from the works of pre independence artistes to cope up with the changing times and tastes of the Indian audience in the rapidly ascending Golden Era of HFM. The major change was the extra emphasis on churning out melodious and musical films than on Histrionic excellence or a strong story line. This film was produced and directed by a veteran of pre-independence era- Wali Sahab, under the banner of his own production outfit Punjab Film Corporation.

Music direction was by not one, but 4 less known and less successful composers like, Z.Sherman, Gulshan Soofi, Khan Mastana and Aziz Khan. For 12 songs of the film, as many as 5 Lyricists were there, which included Wali sahab, his brother Nazim Panipati, Kaif, Khalish and Sagar Badayuni. One song from this film has been discussed here earlier. The cast of the film consisted of Mumtaz Shanti, Husn Bano, her mother Shareefa, Shakuntala, Suresh, Murad, Pran, Kesari and many others. It was an uncommon instance, when both mother and daughter worked together in the same film. While launching Nutan in film Hamari Beti-50, both Nutan and her director mother Shobhana Samarth had acted in the same film.

This pair of Mother and daughter- Husn Bano and Shareefa- had strange life stories.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, her mother, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios.However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as a Heroine. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house ‘Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 40s. Leela Chitnis was the first to feature in this Ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee had also featured in these ads.

The story of actress Shareefa is very strange.

Sharifa was an actress in the 20s and the 30s. She hailed from the Central provinces and joined the Corianthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper ( the actor singer Minu cooper/the mystique of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For an year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, Shareefa brought her to Bombay and she built a very big mansion in Dadar called ” Shareefa Manzil’.
Shareefa acted in almost 40 films and sang 10 songs in 5 films in early cinema. She continued working till early 50s, when she died.

Another interesting artiste in this film was one of its Music Directors- Gulshan Soofi. He was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.

Finally, he came to Bombay with Bhai Dessa and recorded few songs. He joined nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother india-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.

he started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.

Today’s song is composed in a very lilting and melodious tune. The language used here is typical lower class Bambaiya. During Johnny Walker’s time, such words were used in songs sometimes, but after that it stopped totally. As such, the system of having an independent Comedian itself is no more, so no question of comedy songs. I enjoyed this song. You too will, I am sure.

(I have used some information in this post from the book ” Stages of Life- Indian Theatre autobiographies ” by Kathryn Hansen, Filmdom-46 and my notes, with thanks.)


Song-Arre o bewafa tu apne kothe pe chadhela hai (Zamaane Ki Hawa)(1952) Singers- Khan Mastana, Sulochana Kadam, Lyrics- Nazim Panipati, MD- Gulshan Soofi

Lyrics

arre o bewafa
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
tera aashaq kai kallak se neeche khadela hai
tera aashaq kai kallak se neeche khadela hai
are o bewafa
o hi hu ha ha

tumhari jaan mein jaaneman
museebat me padeli hai
tumhaari jaam mein jaaneman
museebat me padeli hai
padosi bhi jagela hai
padosan bhi jageli hai
padosi bhi jagela hai
padosan bhi jageli hai
are o bewafa

sa re ga ma
pa dha ni sa

arre marne de in dono ko
aur tu saath chal mere,
saath chal mere
arre marne de in dono ko
aur tu saath chal mere
saath chal mere
idhar tamtam khadeli hai
udhar taanga khadela hai
idhar tamtam khadeli hai
udhar taanga khadela hai
are o bewafa
o ho ho ho ho

chaloongi saath tere
kya hai tamtam ho ke taanga ho
chaloongi saath tere
kya hai tamtam ho ke taanga ho
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
arre o bewafa

sa re ga ma pa dha ni sa

magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
maal le aao
maal le aao
magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
humaare paas kadki hai
na dheli hai na dhela hai
humaare paas kadki hai
na dheli hai na dhela hai
are o bewafa
o ho hui ho ha

ghar ka ghar loot ke
le aaungi
darr kiska hai
jaan kiski hai
jigar kiska hai
sar kiska hai


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.

“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.

The movie had eight songs in it that were composed by two music directors. HFGK mentions three songs as composed by Fareh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.

Two songs (both composed by Fateh Ali Khan) have been covered in the past.

Here is another song from “Aaina”(1944). This song has two versions. One version is sung by Kalyani and other by Shama. sung by Zohrabai Ambalewaali and Gope. Pt Phani is the lyricist. This song was composed by Gulshan Soofi.

Only one version of the song (sung by Kalyani) appears to be available though one can find youtube links passing on the same voice as that of Kalyani as well as Shama in different links. 🙂

I request our knowledgeable readers to throw light on the picturisation of this song.

PS-Now, Mr Sadanand Kamath, our own inhouse old song expert, has made available the Shama version of this song. One can notice that her voice is clearly distinct from that of Kalyani Bai. Moreover, her version of the song has one stanza less than in the Kalyani Bai version.

With this song, Shama makes her debut as a playback singer in the blog.

Kalyani Bai version

Shama version


Song-Misl e khayaal aaye thhe aa kar chale gaye(Aaina)(1944) Singer-Kalyani bai/Shama, Lyrics-Pt Phani, MD-Gulshan Soofi

Lyrics

——————————–
Kalyani Bai version
——————————–
misl-e-khayal aaye the
aa kar chale gaye ae ae
duniya humaare gham ki basa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

aayi na thhi humaare chaman mein bahaar abhi
aayi na thhi humaare chaman mein bahaar abhi
wo aag aashiyaan mein laga kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye

————————————————————-
Shama version
————————————————————-
misl-e-khayaal aaye thhe
aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe
aa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae


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.

“Janmpatri”(1949) was directed by K P Shahani for Popular Productions, Bombay. This “social” movie had Sudha Rao, Hameed, Zebunnissa, Chandabai, Vijay Kumar, Leela Gupte, A Shah, Susheela, Mazeer Kashmiri, Pran, Ratan Piya, Khatana, Shamo, Abdul etc in it.
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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.

“Zamaane Ki Hawa”(1952) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti, Suresh, Husn Bano, Pran, Murad, Kesri, Sita Bose, Shakuntala, Neerja, Shareefabai, anjum, Rajni, Kamu, Raja Salim, Raju, Majnu etc in it.
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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.

“Sabzbaagh” (1951) was directed by Aziz Kashmiri for Nirmal Pictures. The movie had Shekhar, Nimmi, Cuckoo, Pran, Khanjar, Chand Burque, Rashid Khan, Om Prakash, Suraiya Choudhary, Kamal Kapoor, Majnu etc in it.
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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.

“Ghamand”(1955) was produced by Rijhulal Sewaram and directed by Deepak Asha for Keertan Pictures, Bombay. The movie had Shyama, Shiela Ramani, Rajkumar, Kamal Mehra, Ramlal, Seeta Bose, Mohini, Manjeet Kumari, Shakeel, Thakur, Ishwan, Bajaj, Jaani, Muraad etc in it.
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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.

There are many lyricists who joined Hindi film industry since the talkies came into being. While some of them became famous, many remained in the background though some of them were connected with the film industry for a considerable length of time. The result is we do not have much information about the latter category of lyricists as far as their their detailed profiles are concerned. In this category, the names of Dr. Safdar ‘Aah’ Sitapuri, Rammurti Chaturvedi, Bhutaram Sharma, Shams Lucknowi, Kaif Irfani, Shevan Rizvi and many more come to my mind. Among the ‘many mores’ is the lyricist Aziz Kashmiri about whom very little is known of his life before he joined Hindi film industry.
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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.

“Pati Seva”(1947), by now an obscure movie was directed by S M Yusuf. The movie had Sulochana Chatterji, Trilok Kapoor, Dulaari, Shakir, Sharda, Roop Kamal, Shabnam, Saiyyad Ahmad, Bibi, Agha Jaan, Ismail, Nirmal Kumar, Dhanraj, Yakoob etc in it.
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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.

“Devar”(1947) is a movie that few people have heard about. This had an obscure cast cnsisting of names like Agha, Jyoti, Yashodra Katju, Khurshid, M. Kumar, Masood etc.
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15212

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4181

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Active for more than 4000 days.

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1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 Actor-Singer Amitabh Bachchan Anand Bakshi Anil Biswas Asha Bhonsle Bharat Vyas Chitragupta C Ramchandra Dev Anand Dharmendra D N Madhok Geeta Dutt Hasrat Jaipuri Helen Hemant Kumar Husnlal Bhagatram Indeewar Kalyanji Anandji Kishore Kumar Lata Laxmikant Pyarelal Madan Mohan Mahendra Kapoor Majrooh Sultanpuri Manna Dey Meena Kumari Mukesh Naushad O P Nayyar Prem Dhawan Qamar Jalalabadi Rafi Raja Mehdi Ali Khan Rajinder Krishan Ravi R D Burman Roshan Sahir Ludhianvi S D Burman Shailendra Shakeel Badayuni Shamshad Begam Shankar Jaikishan Singer-MD Suman Kalyanpur Suraiyya Talat Mehmood
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