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

Posts Tagged ‘KC Dey


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 :

5129 Post No. : 17081

Today’s song is from the film ‘Tamanna’ (1942).

This was a film made by Laxmi Productions, Bombay. It was directed by Phani Mujumdar and for songs written by SK Kalla, the music was provided by India’s first blind music director KC Dey. In later years there were two more blind MDs. One was Manoharlal Sonik – of the Sonik-Omi duo of MDs and the other was Ravindra Jain. This film was released on 20-6-1942 at the Royal Opera House theater in Bombay.

Film ‘Tamanna’ was an ordinary film, but it became famous afterwards, when it became known that the famous singer Manna Dey had made his debut as a Playback singer in Hindi through this film. However, besides this point, there were few more matters which made this film a special film. In addition to being the debut film for Manna Dey, it was also the debut film for the Banner-Laxmi Productions. Further, it was the first film of its heroine Leela Desai, in the Bombay film world.

People who write on old songs and old films generally write about actors, actresses, directors, lyricists, MDs, singers and also occasionally on the arrangers and the cinematographers. But very rarely, something is written about a producer. Actually it is the producer who conceives the idea of the film, who arranges the finances for the film, who selects a team of director, MD and the cast of the film, still he is not paid much attention. It is because of the producer, an artiste can make debut or an MD gets praise for his music etc, but the producer remains unsung.

Today, we will talk about an enterprising producer of film ‘Tamanna’ who had made several well known films, gave opportunities to many actors, directors and MDs. His name is Chimanlal Trivedi.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decades. He was more a producer businessman than a director. While he directed hardly 7 films, he produced close to 50 films – all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving master in Calcutta. Fond of writing, he started writing dramas, which were staged in Bengal and Gujarat. He was attracted towards cinema and tried some work in New Theaters. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film ‘Chevrolet’ (1936) and ‘Danger Signal’ (1937) for Mohan Pictures.

He established his own production company CIRCO (Cine Industries Recording Company) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for ‘Laxmi’ (1940), ‘Anuradha’ (1940) and ‘Vanmala’ (1941), Balwant Bhatt for ‘Suhag’ (1940) and ‘Madhusudan’ (1941), AR Kardar for ‘Swami’ (1941) and ‘Nai Duniya’ (1942) and Debaki Bose for ‘Apna Ghar’ (1942).

He had the art of getting the most popular stars for his films like, Prithviraj Kapoor, Chandramohan, Durga Khote, Mazhar khan, Bibbo, Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis, Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose, Nitin Bose, Kardar, Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal, Profull Roy, Sudhir Sen, RS Chaudhary, Phani Majumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs. 1,000 pm, and also Chandramohan, Pagnis and Mazhar Khan. His friend Chandulal Shah followed his way and brought KL Saigal from New Theaters !

CL Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made ‘Mera Gaon’, ‘Sharafat’, ‘Bhagya Laxmi’, ‘Kadambari’, ‘Tamanna’, ‘Inkaar’, ‘Mohabbat’, ‘Miss Devi’ etc. In 1951, it was Supreme Pictures, then Trivedi Productions in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, KC Dey, Saraswati Devi, Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other national leaders. His wife Kantaben was a leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai, Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with ‘CH’ ( ? ) !

[Author’s Note: Thanks to Harish Raghuwanshi ji for his book “बॉलिवूडमा गुजरातीयो” in Gujarati, Encyclopedia of Indian Cinema, muVyz and my notes.]

This was also the first film in Bombay for the film’s heroine Leela Desai, a famous and well known name in Bengal made films, till then. She was especially invited by Chimanlal Trivedi for this film. Later she did many of his and others’ films in Bombay. Trivedi had also called 7 different technicians from Calcutta for this film, according to Baburao Patel – editor of Film India in its June 1942 issue. This was to make the film technically superior quality. These technicians did it, but the film had a very weak story. Actually, in those days it was the first film on ‘Village Uplift and Cottage Industry’ – a favorite topic for speeches of Gandhi ji. The story was built around ‘a typically Bengali idea of Platonic Love’, seen in many earlier New Theaters films from Calcutta.

Leela Desai was cast opposite Jairaj. They fall in love. She is very rich, but will get her wealth only after marriage. Jairaj works in a company on a high post. He spends half his salary on research and half on village development. Due to a misunderstanding, on her offering money for Jairaj’s work, they separate. Leela marries Karan Dewan to get the money. She anonymously gives that money to Jairaj for his project. Karan Dewan comes to know the entire story and magnanimously divorces Leela. Jairaj and Leela get married.

Leela Desai was the daughter of Dr. Umedbhai Lalbhai Desai-a Gujarati and his wife Satyabala Devi – a Bengali from Bihar, who was a famous and prominent singer of the 1930s. Leela Desai was born on 1-1-1909 in Newark, New Jersey, America, where her parents had gone for a 3 year work trip. She grew up in India. She learnt dancing from Amla Devi (who married Uday shanker), as well as from Lachhu Maharaj and Sohan lal. She also learnt music at Morris College, Lucknow.

Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.

Leela Desai was trained in the Bhatkhande Music Institute established in Lucknow in 1926. It has played a vital role in training generations of performing artistes, dedicated gurus and gifted composers. Lucknow has contributed music directors, (like Naushad, Madan Mohan, Roshan), actors and actresses (like Kumar, Iftekhar, Akhtari Bai, Bina Rai, Yashodhara Katju, Swaranlata), singers (Talat Mahmud, Anup Jalota, Dilraj Kaur, Krishna Kalle), writers (like Amritlal Nagar, Bhagawati Sharan Verma, Achala Nagar), lyricists and dancers. Lachhu Maharaj was a very successful choreographer for many films. Pahadi Sanyal, Leela Desai and Kamlesh Kumari of New Theaters at Calcutta were all trained here.

In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for work in films. She worked in the film ‘President’ (1937) as the sister of Kamlesh Kumari, opposite Saigal. It was followed by ‘Vidyapati’ (1937), ‘Dushman’ (1938), ‘Kapaal Kundala’ (1939) and ‘Nartaki’ (1940). She also did ‘Adarsh Mahila’ (1937) with Ideal Film company.

Leela Desai had been invited by the students of the Intermediate College in 1941. Bangalore had the distinction of holding festivals of films made by New Theaters and Prabhat Film Co.

BN Sircar’s empire introduced personalities of the stature of PC Barua, Bimal Roy, Debaki Bose, Leela Desai, Phani Majumdar, Timir Baran, Uma Shashi, Nitin Bose, KL Saigal, Pankaj Mullick, Nemo, Sisir Kumar Bhaduri and Jamuna, all of whom later earned all India fame, under the banner of New Theaters. Among his technical achievements were the bringing of sound to Calcutta for Bengali films, and the introduction of the playback system. The elephant logo of New Theaters acted as a magnet to draw crowds throughout the country.

Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in the film ‘Tamanna’. She acted in 5 films of Chimanlal Trivedi. After ‘Tamanna’, Leela Desai acted in films like ‘Sharafat’, ‘Paraya Dhan’, ‘Nagad Narayan’, ‘Inkaar’, ‘Mujrim’, ‘Miss Devi’, ‘Kaliyan’, ‘Meghdoot’, ‘Maharani Minal Devi’, ‘Magadhraj’, ‘Kamla’, ‘Dev Kanya’, ‘Soorat’ and last film ‘Geet Govind’ (1947).

She acted opposite leading actors like KL Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao Pendharkar etc. She worked under top directors like Debaki Bose, Nitin Bose, Kedar Sharma, Phani Majumdar and others. Her sister Monica Desai (who married Phani Majumdar) was also in films. In 1944, Leela also acted in the movie ‘Kaliyan’ with Ramola. Ramola also acted in the film ‘Lalkar’ in the same year. In a span of just 10 years, Leela Desai acted in 21 films and then left films.

She settled in Darjeeling with her mother. Leela Desai owned a house in Darjeeling called ‘Lily Cottage’. Her mother Satyabala Devi lived there until her death. It is possible that Leela knew Manjula or Sumitra Sanyal in Darjeeling. Leela Desai is mentioned in Bollywood actress Sumitra Sanyal’s site.

Today’s song is sung by an unknown male, female and a chorus. I feel it must have been sung by some street singers or in the background in the film. Anyway, enjoy the song….


Song – Hai Kaun des tumhaara musaafir (Tamanna)(1942) Singers- Unknown Female voice, Lyricist – SK Kalla, MD – KC Dey
Male voice + Female voice
Chorus

Lyrics

hai kaun des tumhaara musaafir
kaun des tumhaara musaafir
kahaan ke
haan haan haan
kahaan ke
rahnewaale ae
tum kahaan ke rahnewaale
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye
tere bolon ne praan jagaaye
teri baani se hum yahaan aaye

aa ha ha ha
hum bane kisaan dulaare
maata dharti ke pyaare
hum bane kisaan dulaare
maata dharti ke pyaare
haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale
hum hain lohaar
hum hain kumhaar
hum hain kapda bun’ne waale

haath bane hathhiyaar hamaare
hum mazdoor hain saare
haath bane hathhiyaar hamaare
hum mazdoor hain saare

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

है कौन देस तुम्हारा मुसाफिर
कौन देस तुम्हारा मुसाफिर
कहाँ के
हाँ हाँ हाँ
कहाँ के
रहनेवाले
तुम कहाँ के रहनेवाले
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए
तेरे बोलों ने प्राण जगाए
तेरी बातों से हम यहाँ आए

आ हा हा हा
हम बने किसान दुलारे
माता धरती के प्यारे
हम बने किसान दुलारे
माता धरती के प्यारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे

हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले
हम हैं लुहार
हम हैं कुम्हार
हम हैं कपड़ा बुनने वाले

हाथ बने हथियार हमारे
हम मज़दूर हैं सारे
हाथ बने हथियार हमारे
हम मज़दूर हैं सारे


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3501 Post No. : 14066

Todays song is from an old film of the 30s – ‘Sunehara Sansar- from 1936.

Songs from films made in the 30s are difficult to find.If you find a song of a film of your choice, you are a lucky person. Sometimes, as a fluke, such songs are encountered and your day is made. Luckily, there are collectors from India and Pakistan, who collect songs from various sources and upload them on You Tube for the benefit of music lovers and history students. Since no collector ever discloses his sources, it is difficult to know from where the song has been taken. Actually it hardly matters as long as it is not used for commercial purpose. Such 70-80 year old songs are no one’s personal property in any case, once they are on public domain. The uploaders are also aware of it.

We are thankful to many uploaders like Shri Girdharilal Vishwakarma ji of Jodhpur, Shalin Bhat ji in the US, Javed Rsjs ji and many more such kind and helpful souls who serve the interest of Film music history, by making old rare songs available to music lovers and writers. Our own Sudhir ji, Atul ji and Sadanand ji too upload such rare songs. God Bless Them all. Today’s song is uploaded by Shalin Bhat ji.

The song is from a film made by East India Film Co. of Calcutta. In those days, the name Calcutta was synonymous with New Theatres, in the film world. New Theatres is a Golden Chapter in the Indian Film History. Established by BN Sircar in 1930, NT was not just a commercial entity, but an institution which strengthened the foundation of film making in India. Sircar established systems and discipline in film shootings. He was an engineer from London. Son of a very famous and rich Advocate General of Bengal, Sircar was a soft spoken but a firm personality. Being rich himself, he had no problem in building a well equipped company, without making a compromise on quality – both in in terms of machinery and people.

Most other studio owners like V Shantaram, Mehboob, Chandulal Shah, Sohrab Modi, SS Wassan, Guru Dutt, Raj Kapoor etc. took over as company’s film director, but not Sircar. He had a strong line up of capable directors like PC Barua, Hem Chander, Debaki Bose, Nitin Bose, Premankur Attorthy, Phani Mujumdar etc. He never ever interfered with directors choices of actors or work. Remaining in the background, he ensured shootings as per schedule.

NT was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were 18 Production houses in Calcutta alone. They were – Arora Film Co., Shri Bharat Laxmi Pictures, Chitramandir RBS Prodn, Dev-Dutt films, East India Film Co., Indua Movietone, Kali Films, Kamala Talkies, Maadan Theatres, New Popular Pictures, Moti Mahal Theatres, Murli Pictures, Quality Pictures, Radha Film Co., Sonoray Picture Syndicate, Sunrise Film Co., and Tollywood Studio. Interesting point is, Bombay film industry came to be known as Bollywood many decades after this Calcutta studio – Tollywood – which continues till today for Bangla Film industry.

After 1939, the second world war created problems for NT. On one hand raw film shortage and  severe competition and on the other hand ego clashes of the stalwarts and exodus from the company plagued NT. PC Barua was the first to leave,in 1940, to restart his own studio. One by one people started leaving. From 1942 to 1947, many important actors, directors and technicians left NT and went to Bombay. During its existence, NT created an all time record as a company. It had produced  177 films as against the nearest competitor – Ranjit Studios of Bombay, with 175 films (as per Cine Advance issue dated 5th Dec 1980).

During the Golden period of NT, Debaki Bose made a Bangla film ‘Sonar Sansaar’ in 1936. The same was also made in Hindi as ‘Sunehra Sansaar’. During the period 1934 to 1936, Debaki Bose worked for East India Film Co. His film, ‘Seeta’ (1934) won the Honorary Diploma in Venice Film Festival and his last film there was ‘Sunehra Sansaar’ (1936). After this Debaki Bose (who gave the name ‘Kumar’ to actor Syed Ali Hasan Zaidi of film ‘Puran Bhagat’ (1933) returned to NT for the period from 1937 to 1941. He then left NT to start his own production company.

The East India Film Company was based in Calcutta, Bengal Presidency, Bitish India. It was the first Indian film company to screen a movie at an international Film Festival. Started in 1932 in Calcutta, by RL Khemka, it went on to be a pioneer in producing films across several regional film industries, including Bengali, Hindi, Urdu, Telugu, and Tamil in the decade after its founding; till then, production companies were restricted regionally.

The company was formed in 1932 by RL Khemka, a local Marwari businessman in Bengal after acquiring the RCA Photophone studio, its location recording equipment, and its Mitchell cameras. In 1933, East India Film Company’s first Bengali film production, ‘Jamuna Puline’ was released. The director was Priyanath Ganguli, who had joined here after leaving Maadan Theatres. Riding on its success, the company became the first Bengali studio to venture into not just Hindi films, but also various films in South Indian languages. East India Film Company was soon producing a dozen movie releases per year, including several hits like ‘Savitri’ (Telugu) and ‘Ramayan’ (Tamil).

The East India Film Company’s ‘Seeta’, made by Debaki Bose, was the first talkie shown in an international film festival. It was shown in 1934 at the Venice Film Festival where it won an Honorary Diploma. Subsequently, Bose also made his noted film, ‘Sonar Sansaar’ (Hindi: ‘Sunhera Sansaar’) in 1936 under the East India Film Company banner.

Shot in Calcutta on a lavish budget of Rs.75,000, East India Film Company’s ‘Savitri’ in Telugu was a huge hit. Based on a popular stage play by Mylavaram Bala Bharathi Samajam, the film was directed by debutant C Pulliah and starred stage stalwarts Vemuri Gaggiah and Dasari Ramthilakam as Yama and Savitri, respectively. Like ‘Seeta’, this film was also shown in Venice Film Festival, where it too won an Honorary Diploma.

Film ‘Sunehra Sansaar’ had 21 songs, all written by its hero – Vijay Kumar, BA. [Author Notr: I have written about him in my post “Tan Prem Ki Raakh Lagaa Kar Ke“on 31-1-2018). The cast of the film was Vijay Kumar, Rampyari, Menaka Devi (her first film in Calcutta), Kamla Jharia, Azuri, Mazhar Khan, Gul Hamid, KN Singh (his debut film) and others.

Like several common feminine names in those days – Zebunnisa, Zubeida, Khursheed, Zohra, Amirbai, Gauhar, Radharani, Menaka, Noorjehan, Yasmin, Vimala etc, there were common male names too. One of them was Hamid. It was prefixed and suffixed by Gul, Ali, Syed etc. For example, actor Ajit’s real name was Hamid Ali and actor singer Shyam Kumar was Syed Gul Hamid Ali. I remember, once when I wrote about Shyam Kumar and his real name, our Sudhir ji had queried if he and the actor Gul Hamid were same. I had informed him that they were different.

Today we will know more about this actor Gul Hamid, who acted in many films in the 30s and died very young at 31 years only. He was a handsome young man from Peshawar. After starting his film career from Lahore, he moved to Calcutta where he worked in more than a dozen of silent films and talkies. Some of his films were made in Bombay too. He had many honors to his credit. He acted in Heer Ranjha, the first film produced in Punjabi and in Seeta, a talkie that won an Honorary Diploma in the 1934 Venice Film Festival. That was also the first Indian film shown at an International film festival. Hamid also wrote the script, acted in, and directed the film Khyber Pass (1936). 

Gul Hamid was born in 1905 in Pirpiai, a village near the Kabul River in the North West Frontier Province of British India (now in Pakistan). His father was Saif Ullah Khan. Gul Hamid Khan had three brothers named Abdul Hameed Khan, Gul Jamal Khan and Sayed Jamal Khan. Gul Hamid Khan was married to Patience Cooper (later Sabra Begum) from 1930–1936, one of the first early silent movie actresses.

He became an all-India celebrity when AR Kardar cast him in his hit movie. It is said that the movie industry never again saw an actor with Gul Hamid’s looks. He made his film debut with Sarfarosh alias Brave Hearts in 1930, which was a silent movie made in Lahore and directed by AR Kardar. In 1931, his films Aatishe Ishq and Wandering Dancer were released. Gul Hamid also had the honour of working in the first ever Punjabi feature film Heer Ranjha released in 1932. This film was made in Lahore and directed by AR Kardar. In 1933, his film Yahudi Ki Ladki was released based on Agha Hashar Kashmiri‘s stage play by the same name. His other films released in 1934 were ChandraguptMumtaz BegumSultana and Night Bird.

1935 was the richest year of Gul Hamid’s career as many of his films were released in it. In Bharat Ki Beti (1935), his heroine was Rattan Bai.  His other notable talkie films in 1935 were Sauteli BadruhiSaleema  and  MurdererYasmin was also released the same year in which his name was Behram. As per records, only three films were released in 1936 i.e. ‘Sunehra Sansaar’, Baghi Sipahi and Khyber Pass.  Khyber Pass was the film in which he not only acted but also wrote its script and directed it. He worked with his wife, Patience Cooper, in three films i.e., Baghi Sipahi, ‘Murderer’ (1935) and Khyber Pass. He died  in 1936 due to a throat ailment.(Hodgekin’s Disease).

The story of film Sunehara Sansar-36, as outlined in Encyclopedia of Indian Cinema, is as follows,

This is a parable about human suffering and capitalist enterprise. The village headman has the bandits attack house of Ramesh to settle an old dispute. His wife Roma is kidnapped and infant son is abandoned in a forest. Years later, Roma works as a nurse to a kind millionaire and her son Raghunath lives with other unemployed youths, in a nearby house. They all dream about starting a Soap Factory. The father has become a beggar in that town only. No one is aware about others. Changed circumstances bring the family together and the kind millionaire helps to set up the Soap Factory.

Today’s song is composed by KC Dey, but the singer is not known. I presume it is Vijay kumar only. So, here is a song from an 80+ year old film. Surprisingly, the song is clear.

[Auhtor’s Note: Acknowledgements and thanks to Indian Cinematograph Year Book – 1938, Encyclopedia of Indian Cinema, Muvyz, HFGK, Wikipedia, IPFS.com, Pakfilms.com, book by Ambarish Mishra and my notes.]


Song – Sukh Anand Aur Prem Ki Khaatir (Sunehra Sansaar) (1936) Singer – [Unattributed], Lyrics – Vijay Kumar BA, Music – KC Dey

Lyrics (Provided by Sudhir)

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
saathi ishwar gun gaawo
saathi ishwar gun gaawo
saathi ishwar gun gaawo
jis ne racha sunder sansaar

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार

पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
साथी इशवर गुण गावो
साथी इशवर गुण गावो
साथी इशवर गुण गावो
जिसने रचा सुंदर संसार

सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार


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

The Wonderful Sounds of 1930s – 5
– – – – – – – – – – – – – – – – – – –

What to write about the voice for which no information is apparently traceable.  Many artists of the 1930s have become obscure.  The Indian cinema industry is notorious for ignoring its own history and roots.  There have been no industry supported or sponsored programs or efforts aimed as compiling and collating the history of its own.

Akbar Khan Durrani Peshawari – a voice that appears to be a trained classical singer, has no traceable information available, other than of course the listings in the Geet Kosh, that identify maybe about 5 songs sung by him. Searching on the YouTube, one can locate maybe about four or five of his songs, all of which are not identified in the Geet Kosh.  There are two songs from the film ‘Sultaana’ (1934), which are available in his voice.  Both are wonderful gems – “Kitaab e Dard mein Likha Mere Gham Ka Fasaana Hai” and “Mushkil Kushaa Hai Naam Tera”.  On the blog, we have one more song in his voice already posted; the film is ‘Postman’ (1938) and the song “Hauslaa Aashiq Ko Chaahiye Dil Ko Lagaane Ke Liye“.
Read more on this topic…


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 FOURTEEN 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

17035

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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Active for more than 5000 days.

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