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

Posts Tagged ‘Madhukar Rajasthani


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 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 :

4381 Post No. : 15729 Movie Count :

4336

Missing Films of 1960s – 115
– – – – – – – – – – – – – – –

Frankly, I never really thought I would be posting a song for this most obscure of films. The name ‘Flying Horse’, with the accompanying information conspicuous for being so frugally available, kind of put this film near the bottom of the list with the likes of ‘Flight to Assam’ and ‘Mahavat’ (both from 1961), for which the expectation for traceability is kind of low enough to be non-existent.

So consider my surprise, and excitement of course, as I get a message from our Sadanand ji, about 10-12 days ago, with a link to this song, with the details claiming it to be one of the songs of this heretofore wonderfully extinct film. I played the song, I checked out the details – it all seemed to match. The song is listed in Geet Kosh as belonging to this film. This in my opinion, would constitute one of the rarest of the rare finds.

My interest in this song was further heightened, as I read the latter part of Sadanand ji’s message. First part of that dampening effect came when I read further to find that this song, although clearly listed for this film in the Geet Kosh, well, it also appears in the listing of another film. Further inputs from Sadanand ji, and more checking through the Geet Kosh reveals that there is another film titled ‘Saalgirah’, which also includes this song. And the fact that makes this scenario more interesting, as well as intriguing is, that ‘Saalgirah’ is listed as one of the unreleased films from the 1950s. As I tried to search for more info, my efforts were directed towards finding out what would be the common set of information for the two films, so as to establish some link between the two. A little digging revealed that there is only one common link between the two films, and that is the music director. That, in my mind, would serve to be an important linkage that would explain as well as support the scenario. The song would have been earlier prepared and recorded for the film ‘Saalgirah’, but then for whatever reason, the film was shelved. The tunes created would then become intellectual property either of the producer or the music director, depend on the understanding between the two.

Come 1963, and the film ‘Flying Horse’ – the music director chooses to use at least four of the songs prepared for the earlier unreleased film ‘Saalgirah’. So this becomes one of the cases of songs meant for one movie, but used in another movie. And here is an additional piece of information that makes the scenario more interesting. The Geet Kosh listing for the unreleased film ‘Saalgirah’ shows that two gramophone records were published for the film, containing 4 of the 5 five songs listed for this unreleased film. Now this publication went on to ensure that the four songs of this film, continued to be available, although the film itself was never completed and released.

As I reviewed the Geet Kosh entries for ‘Flying Horse’, I found that no  gramophone record nos. are listed for it. Presumably then, the two records and four songs originally recorded for ‘Saalgirah’ are likely the only recordings available for these songs. And so with a little agreeable extrapolation, based on the details as contained in Geet Kosh, I am rightly announcing the uncovering of the songs of this rare and obscure film.

And so here we go. The 1963 film ‘Flying Horse’ is directed by Trimurty for the banner of Vishwakala Pictures, Bombay. The cast of actors is listed as Krishna Kumari, Samar Roy, Heera Sawant, Kesari, Ameerbai Karnataki, Shri Bhagwan, Sudha, Madhumati, Omi, Khanna, Pandit Iqbal, Master Mohan, and RS Dubey. It is interesting to note a few familiar names in this cast of actors.

There are seven songs listed for this film. Interestingly, the unreleased film ‘Saalgirah’ has only five songs listed. The common denominator is the four songs that were published on gramophone records. The common factor of the music director across the two films also has a little variation. The name of the MD for ‘Saalgirah’ is listed as H Vijay. And the name of MD for ‘Flying Horse’ is listed as Vijay Honawar. Unless this is a coincidence of a superlative order, I would surmise that the two are the same person. Moreover the wordings of the titles of the four songs match exactly. And so does partially, the name of the lyricists. In the film ‘Saalgirah’ two of the four songs are credited to Madhuraj, one song to Munshi Khanjar, and one song to VR Sharma. In the case of ‘Flying Horse’, all the four songs are credited to Madhukar. It is known fact that Madhuraj is the pseudonym used on occasion by the poet Madhukar Rajasthani. And so does match the name of the lyricist also. The unexplained part that remains is why Madhukar Rajasthani is credited with two extra songs, that have been earlier credited to other lyricists. This will need research on available material like film information booklets etc. I cannot comment on this right now.

The singer’s name is listed in the details of the earlier unreleased film ‘Saalgirah’. The singer for this song is Aashima Bannerji. The song itself is a very sad song of unfulfilled love – an expression that borders on a complete resignation to the vagaries of fate.

So, with some collation of available data, part extrapolation, and part tongue-in-cheek gumption, I present here this song which can be termed as a very rare find. Actually, the uploader of this song on YouTube has probably surmised similar conclusions, and has posted this song for the film ‘Flying Horse’. Another fact that Sadanand ji points out is important, this song was played on Radio Ceylon (now Sri Lanka Broadcasting Corporation 🙂 ) sometimes during 2019, albeit that announcement was for the unreleased film ‘Saalgirah’.

This series of missing films of 1960s, which has showcased 114 films already, over a span of – oh goodness – now almost five years, continues to be alive. In fact in the interim months since the previous two episodes was published in July 2019 and Jan 2020, I have received information input about the availability of songs of a few more films. That is heartening news, and the series is going to be alive for some more episodes. Watch this space for more postings in this series.

Song – Dheere Dheere Jal Re Manwa  (Flying Horse) (1963) Singer – Aashima Bannerji, Lyrics – Madhukar Rajasthani, MD – Vijay Honawar

Lyrics 

aaa aaa aaa aaa
aaa aaa aaa aaa

dheere dheere jal re manwa
dheere dheere jal
dheere dheere jal re manwa
dheere dheere jal
nainon mein raat dhal rahi
duniya rahi badal re manwa
dheere dheere jal

gaaun kya mann ki veentee
gaaun kya mann ki veentee
geet adhure pyaar ke
geet adhure pyaar ke
praanon mein bkali bhari
praanon mein bkali bhari
aansoo rahe nikal re manwa
dheere dheere jal re manwa
dheere dheere jal

jeevan ki shaam ho chuki
jeevan ki shaam ho chuki
aasha ki jyot bujh rahi
aasha ki jyot bujh rahi
mil na sakungi tumse main
mil na sakungi tumse main
sapne rahe machal re manwa
dheere dheere jal re manwa
dheere dheere jal
nainon mein raat dhal rahi
duniya rahi badal re manwa
dheere dheere jal

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

आ आ आ आ
आ आ आ आ

धीरे धीरे जल रे मनवा
धीरे धीरे जल
धीरे धीरे जल रे मनवा
धीरे धीरे जल
नैनों में रात ढल रही
दुनिया रही बदल रे मनवा
धीरे धीरे जल

गाउँ क्या मन की वीनती
गाउँ क्या मन की वीनती
गीत अधूरे प्यार के
गीत अधूरे प्यार के
प्राणों में बेकली भरी
प्राणों में बेकली भरी
आँसू रहे निकल रे मनवा
धीरे धीरे जल रे मनवा
धीरे धीरे जल

जीवन की शाम हो चुकी
जीवन की शाम हो चुकी
आशा की ज्योत बुझ रही
आशा की ज्योत बुझ रही
मिल ना सकूँगी तुमसे मैं
मिल ना सकूँगी तुमसे मैं
सपने रहे मचल रे मनवा
धीरे धीरे जल रे मनवा
धीरे धीरे जल
नैनों में रात ढल रही
दुनिया रही बदल रे मनवा
धीरे धीरे जल


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 :

4305 Post No. : 15576

Imagine, a tall and lanky young man from India, trained to be a wrestler, and a state level sportsman from Bengal, appearing in the Indian contingent at the Olympics in 1936 / 1940 / 1944. Unfortunately (or maybe fortunately) the Olympics of 1940 and 1944 were cancelled due to the ongoing World War II. Had there been peace in the world during those years, maybe the course of history of the Hindi film music may have been different.

Well OK, the previous paragraph is quite speculative. But yes, the fact is that in his younger years, PC Dey was much more inclined towards body building and wrestling. Trained by one Gorobabu, a pehalwan of repute in Bengal, he represented his institution, Vidyasagar College of Calcutta (now Kolkata) at the state level championships and reached the finals in his category. Never mind that his uncle, the renowned KC Dey, would continue to press him to take his music training more seriously. But that was not to be so. Well, for some time at least.

The young Prabodh Chandra developed weakness in his eyesight, which became a handicap in continuing his proposed career as a wrestler. Getting into the wrestling ring with eyeglasses was never a good option. And so, this vision problem coupled with the second World War eventually decided the career path for this young man. And that, to the greater gain and benefit for the music lovers of this country.

Remembering Manna Dey, the stalwart singer of Indian film industry, on the 101st anniversary of his birth today. Born in 1919, we celebrate it today in 2020.

His uncle, KC Dey would goad him, guide him and train him with a vision to for Manna Da to become one of the top singers in the country. In 1942, KC Dey was preparing music for the film ‘Tamanna’. He called upon his nephew to sing a duet with Suraiya – “Jaago Aayee Usha. . .”. With this song, the film career of Manna Dey was launched.

A little time later, Vijay Bhatt and Shankar Rao Vyas approached KC Dey to request him for playback singing in their upcoming film – ‘Ram Rajya’ (1943). Understandably, KC Dey declined the offer, since he would never give playback to any other actor. Providence would have it that the young Manna was also in the room at that time. Vijay Bhatt then directed his attention to the nephew singer. The consent was given and the agreement was in place. Manna Dey would sing for Shankar Rao Vyas in this upcoming film. The song “Tyagmayi Tu Gayi. . .” is the first solo song recorded by Manna Da.

More recordings followed. And then we come to 1950, and the film ‘Mashaal’. The song is “Upar Gagan Vishal“. Manna Dey, and his voice have arrived on to the Hindi film stage.

But then, yes, there is more to his voice than just the film songs. There is a wonderful set of non-film songs that he has recorded during his career. I bring to attention this endearingly beautiful piece, that is written by Madhukar Rajasthani. The music composition is by Manna Da himself. A wondrous song of the first tryst between the lovers. So less words, so short and sweet. And yet, the entire saga of that encounter is ensconced in this brief song of two antaraas. A small pearl from the nose pin of the damsel, gets loose and is lost. And the poet says,

kajraari akhiyaan
reh gayin roti re. . .

Beautiful, simply delightful – that is the softness of this singing voice. Manna Dey – at 101.


Song – Sajni. . . Nathli Se Toota Moti Re (Manna Dey – NFS) (1982) Singer – Manna Dey, Lyrics – Madhukar Rajasthani, MD – Manna Dey

Lyrics

sajni..ee

sajni..ee

nathli se toota moti re
nathli se toota moti re
kajraari akhiyaan
reh gayin roti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
sajni..ee
nathli se toota moti re

roop ki agiya
ang mein laagi
ang mein laagi
kaise chhupaa..aaye
laaj abhaagi
laaj abhaagi
manwa. . .
kehta. . .
bhor kabhi na hoti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

bholi dulhaniya
palken jhukaaye
palken jhukaaye
ghunghatwa mein
sehme lajaaye
sehme lajaaye
balmaa..aa
padhaaye
preet ki pehli pothi re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

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

सजनी॰॰ई

सजनी॰॰ई

नथली से टूटा मोती रे
नथली से टूटा मोती रे
कजरारी अखियाँ
रह गईं रोती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे
सजनी॰॰ई
नथली से टूटा मोती रे

रूप की अगिया
अंग में लागि
अंग में लागि
कैसे छुपा॰॰आए
लाज अभागी
लाज अभागी
मनवा॰ ॰ ॰
कहता॰ ॰ ॰
भोर कभी ना होती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे

भोली दुलहनीया
पलकें झुकाये
पलकें झुकाये
घूंघटवा में॰ ॰ ॰
सहमे लजाये
सहमे लजाये
बलमा॰॰आ
पढ़ाये
प्रीत की पहली पोथी रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे


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 : 4106 Post No. : 15257

Today’s song is from the film Gokul ka Chor-1959. My last post was from film Gokul ka Raja-54. Its now time to get out of Gokul Town – after this post. Not that there are no more films on Gokul. There are still 2 more films with same title ” Gokul”, one of 1946 and the other of 1985. I always wondered why there were no films on Mathura or Vrindavan… two more places closely connected to Krishna. As far as Dwarka is concerned, there is a sole film ” Dwarkadheesh”, made in 1956.

During my school days, we boys always used to have 2 groups, one each who like Ram and Krishna. In our school annual functions,in the debating contest, boys from each group vehemently and enthusiastically spoke about their Group God – Ram or Krishna. From the young age itself, personally, I always adored Krishna. In my opinion, Krishna is more relevant in Kaliyug.

There were 4 Yugs
1. Satyug – 17,28,000 years
2. Tretayug – 12,96,000 years
3. Dwaparyug – 8,64,000 years
4. Kaliyug – 4,32,000 years

Shri Ram was the 7th incarnation (Avtar) of Lord Vishnu and he was born in the middle of Tretayug.
Krishna was the 8th Avatar and was born in the end part of the Dwaparyug.
The 4th yug is Kaliyug in which we are living.

Shri Ram ruled for 11000 years. He existed 1.75 million years ago.

Shri Krishna ruled for 125 years and died just one month before Dwaparyug ended and Kaliyug started. That is only 5122 years BCE, before Today. So mathematically also Krishna was closer to Kaliyug of today.

Shri Ram presented an ideal to follow Raj-Dharma, and all rules, regulations, Laws and Social Norms, irrespective of the sufferings. During his times, Praja used to follow the King. That is why there was a Ram Rajya, where ultimately the Evil paid for its misdeeds.

In Shri Krishna’s times, the world had changed and Krishna taught us how to live in today’s Yug, by Tit for Tat, not tolerating injustice, being street smart, using Chanakya type Neetis to achieve Goals. He provided lessons through his own behaviour, how to survive and be successful with Tact and Intelligence, how Karma is more important than Dharma, when it come to destroying the Evil. The whole Bhagwadgeeta is full of worldly advise.
That is why I feel Krishna is more relevant in today’s times. Ram is respected, Krishna is loved.

So much for the Ram and Krishna philosophies. Anyway, To Each His Own. I only expressed my views.
Interestingly, at a cursory count, I find that out of films on Ram (Ramayan and related) and Krishna (Mahabharat and related), 70% films are on Krishna and 30% films are on Ram. Even the film makers seem to consider Krishna as a better entertainer !

Now, coming to today’s film Gokul ka chor-59, it was made by Roopvani films for producer Sharad Pai. He was the son of Baburao Pai, one of the leading Film Distributors of yore and a partner of Prabhat Films. He joined after Keshavrao Dhaiber had to leave Prabhat, because he married the company Heroine Nalini Tarkhad, breaking the directorial agreement rule. For the same reason, V.Shantaram had also to leave Prabhat when he married Jayashree kamulkar, another Prabhat Heroine. But , funnily, S.Fattelal escaped this rule, because he had married Gulab aka Kamlabai, Prabhat Heroine of the Silent Era, before this rule was formulated ! (This Gulab aka Kamlabai is in the Prabhat Logo)

This film was directed by Vasant Painter and the music was by Sudhir Phadke. Information in details about Sudhir Phadke is already given by Sudhir ji, few years back and by me recently, so I will not repeat it.

However, Vasant Painter is a name not known to many Hindi film watchers.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry aka Anandrao Painter died suddenly in 1916 and Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 20 year old,the Silent film era was in full swing and many films were made in Kolhapur,Poona and Bombay.He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on “Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal, Vasant Painter remained in Prabhat loyally, so he got the reward. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd. She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD. Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 and Dagaa-77. Meanwhile he was producing and directing several Marathi films too. He had won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.

The cast of the film consisted of Kumkum. Romi, Manorama, Mohan Choti (real name Mohan Gorakshkar from Amaravati, Maharashtra) Ratnamala, Vasantrao Pehelwan, Madhav Kale, Madhu Apte, Polson etc.etc.

In any star cast of any film, after the names of main and known actors, there will be a line of names of actors who are not familiar and they can not be identified in the film, except by a few handful such experts. Information on these actors is neither collected nor compiled, leave alone their Bios being available. They are just names in the list. One such name in this list is Madhav Kale.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, Kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59 (today’s film). He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.

There is no information about him after this.

Another name in the cast is of Madhu Apte. His full name was Madhukar Shankar Apte. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humour by mistiming the dialogues. He was born on 1-3-1919 at Poona and died on 25-2-1993 at Poona.

Today’s song is sung by Sudha Malhotra and chorus. This is perhaps the first time I am presenting a song of Sudha Malhotra. Whenever her name comes up I remember her popular bhajan, ” Darshan do Ghanshyam nath more, aankhiyan pyaasi re”. I also remember that she is one of those few cine artistes, who try to hide that their debut in the films is through a non-descript film and who insists that a leading Music Director was responsible to launch her in films.

Sudha Malhotra first sang few songs in film “The Last message ( Aakhri paigham)”-1949, under MDs Abid Hussain Khan and Sushant Bannerji. However, in every interview, she has insisted that she debuted in film Arzoo-50 under Anil Biswas. The facts are available in HFGK for anyone to see.

(Some information for this post is taken, with thanks, from The Premier of Hinduism by D S Sarma, Marathi Cinema in Retrospect by Sanjit Narvekar and The Lost Treasure by Kamlakar P.)


Song-Aaya ri kaun sakhi apni nagariya (Gokul Ka Chor)(1959) Singer- Sudha Malhotra, Lyrics- Madhukar Rajasthani, MD- Sudhir Phadke
Chorus

Lyrics

Aaya ri kaun sakhi apni nagariya
apni nagariya
apni nagariya
praanon mein baaj rahi
meethhi baansuriya
meethhi baansuriya
meethhi baansuriya
padte hi paanv sakhi
dharti pe salone
chhalki umang bhari
man ki gagariya
man ki gagariya
o o o o
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
baanto badhaai
baanto
baanto badhaai
aaye krishn kanhaai
aaye krishn kanhaai
hohohohohohoho

sooraj ka tej laaya nainon mein bhar ke
sudh budh dev bhoole dekho tadke
maaya hansi ?? koi naya roop dharke
mukh par chaand khila nandkumar ke
dukh se ubaarne
dharti sanwaarne
jyoti nayi jagmagaayi
jhoole hain krishan kanhaayi
jeewan ke angnaa asha ka jhoolna
jhoole hain krishn kanhaayi
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho

baadal ka rang liye
paaras ka tan hai
bali bali jaaye sakhi
baanka man hai

gyaani ka gyaan laayi paawan kiran hai
bade bade jhoomen sakhi
ye to rain hai

jyoti ye karm ka
deepak hai dharm ka
vedon ki hai ye sachchaai
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhaayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho


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 : 3756 Post No. : 14722

Today’s song is from a film called ‘Diwali Ki Raat’ (1956). This is a film in which singer Talat Mahmood acted as a hero opposite heroine Roopmala. Talat Mahmood (24-2-1924 to 9-5-1998) acted in 12 films from 1945 to 1958 and he also did a cameo role, singing a song-“Shukriya Ae Pyaar Tera Shukriya“, of  three and half minutes in film Aaram-1951. In his early career starting in Calcutta, he fell in love with a Bangla actress Latika Mullick. They got married on 20-2-1951. She was converted to Islam and was renamed Nasreen, who bore two children to Talat. As per a book by Manek Premchand, ‘Talat Mahmood – The Velvet Touch’, he sang 777 songs which included Hindi film songs, NFS and unreleased films etc. As per another source he sang 451 Hindi film songs from 259 Hindi films.

Two very good singers – and my favourites – spoiled their singing careers at the cost of fulfilling their misplaced hype of making it as a singing hero, when such times had died down after Saigal. Mukesh ( 22-7-1923 to 27-8-1976 ) acted in 8 films from 1941 to 1956 and sang 928 songs from 538 films, as per one source. I personally feel, the film bug did more damage to Talat than Mukesh. Of course a money-smart Talat made it up with innumerable foreign tours for concerts and singing jaunts with a party made up of musicians, singers and mimicry artistes.

Recently, I received a copy of Talat’s handwritten inland letter, sent to one of my friends in Gujarat, who wanted to arrange his show. As per what Talat wrote on 26-12-1977, his fees was Rs. 12,000/-, plus hotel accommodation for him and others. The troupe, he said, consisted of singers, dancers, musicians and mimicry artistes. One may feel that Rs. 12,000 was too low, but remember, this was 41 years ago, when petrol was less than two rupees per litre. In late 70s, I had rented a two bedroom, 1,000 sq ft flat in prime locality like Andheri in Bombay, for just Rs. 800 pm. Today the same size flat will command a rent of Rs. 40,000 + pm.

Like the values of money and values of life changed in all these years, almost everything has changed nowadays. These changes have not come overnight, but like slow poisoning, the changes took almost 50 to 60 years to show their effect. The second world war and the independence era were the beginning when quantity started overpowering quality. The film industry was also not an exception. How good the acting or the music was, became secondary and how many films, became the testing apparatus to judge the actor or the composer. Thus the simple but the talented artistes fell behind and those who pushed hard or had the right connections (and the luck) went much ahead.

In the field of Music Direction, at least two names come to the mind, who were talented but too simple to last in the neck to neck competition of the film line. One of them was Snehal Bhatkar (the other being, Bharat Bhai’s favourite- Jaidev). He was the MD for the film ‘Diwali Ki Raat’.

White full shirt, ironed white pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi – he could easily be mistaken for a ‘Pandharpur Warkari’ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented, yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar, as we all know him.

In Hindi film music field there were some talented composers like Ghulam Mohd, Mohd. Shafi, Iqbal Qureshi, Daan singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamal Sen, Dattaram, Ganesh, etc. who could never reach the peaks of their careers. They really deserved success and fame, but luck did not favour them. Big banners never approached them and eventually the losers were the music lovers in India. These composers did not know, perhaps, how to sell their art. May be they never wanted to enslave music to gain name and fame, instead they preferred to settle for genuine service to music!

Snehal Bhatkar was one such composer. The maxim of simple living and high thinking never worked in this Mayanagari, but he had no regrets. Till the very end he was contented with whatever God gave him, and whatever name and success he achieved.

He was born into and grew up in a family that was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

Vasudev G. Bhatkar was born on 17-7-1919. He knew at least 100 bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well-known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job with HMV in Bombay. Here he used to give accompaniment on harmonium to big classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV. Some of them are popular in Maharashtra even today.

All this while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke who also served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. In 1946, they got a film of Baburao Painter – ‘Rukmini Swayamvar’ – for music direction. The problem was that due to his service in HMV, he could not openly work outside. Hence he only gave his name as Vasudev. After this film, the pair separated and Phadke went to give music to films like ‘Gokul’ (1946), ‘Aagey Badho’ (1947), etc. Due to financial constraints Bhatkar was unable to leave his job with HMV.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta to establish himself in Bombay. He had a knack of identifying talents. He first gave a chance to Bhatkar to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as an independent composer in his film ‘Neelkamal’ (1947), where Kidar Sharma launched Raj Kapoor and Madhubala in adult roles as the leading pair. Here Bhatkar used the name B Vasudev. In the subsequent years Bhatkar used different names for different films like VG Bhatkar in ‘Sant Tukram’ (1948), ‘Sati Ahalya’ (1949) and ‘Pagle’ (1950), and Snehal in ‘Suhaag Raat’ (1948) and ‘Thes’ (1949). After doing ‘The’s and ‘Sati Ahalya’, Bhatkar resigned from HMV.

Snehal Bhatkar and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. Meanwhile, Kidar Sharma met Roshan Lal Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with ‘Neki aur Badi’. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar. In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name SNEHAL BHATKAR  from this film. Snehal was the short form of Snehalata, his daughter.

Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 28 films in Hindi (including one unreleased film in the 1950s) and 12 films in Marathi. Out of 27 released Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was ‘Kabhi Tanhayion Mein, Hamari Yaad Aayegi’ from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Mohabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. But Kidar Sharma, already upset over Lata’s refusal, opted for Mubarak Begum and the rest, as they say, is history. She imbued a unique character to this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came in long intervals. Even Kidar Sharma left him after ‘Fariyaad’ (1964) only to return in ‘Pehla Qadam’ (1981). Finally Bhatkar did his last Hindi film ‘Sahme Hue Sitare’ (1994), which featured his son Ramesh Bhatkar, who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar. After retirement Bhatkar devoted his time for children’s welfare and his original love – Bhajan Mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Although Talat has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Babul More Kaahe Ko Deenha Bides Re” sung soulfully by Mukesh in ‘Suhaag Raat’ (1948); “Ro-oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tujhko Laaj Na Aayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal-e-Dil Unko Sunana Tha“- Fariyaad (1964), no other big banner producer opted for Snehal Bhatkar, except Kidar Sharma . May be his compositions were not so simple for common man to hum or sing, although they were quality songs.

Despite several melodious songs Bhatkar was never counted among the first line composers. Kidar Sharma returned to him in 1980, but by that time Snehal Bhatkarwas already on a descending track.

SNEHAL BHATKAR, a talented but sadly not much applauded composer, died peacefully on 29-5-2007 at his Dadar home.

Today’s song is sung by Mahendra Kapoor. As far as I know, this is my first song of Mahendra Kapoor. Today’s song was his first solo song of his career. Mahendra Kapoor was among the premier playback singers of the Golden Age of Hindi musical cinema, with hits like “Chalo Ek Baar ” and “Neele Gagan Ke Taley” vaulting him to a level of celebrity rivaling the on-screen actors miming to his vocals. Born January 9, 1934, in Amritsar,  Kapoor spent the majority of his childhood in Mumbai, where he claimed top honors in the All-India Murphy-Metro Singing competition in 1957. His victory captured the attention of filmmaker Raja Nawathe, who used him in 1958’s ‘Sohni Mahiwal’. This also caused a controversy, because the contest was for new comers and Mahendra Kapoor had already sung  songs in several films like ‘Madmast’ (1953), ‘Madhur Milan’ (1955) ‘Lalkar’ (1956) and ‘Heer’ (1956) and also his first solo song in film ‘Diwali Ki Raat (1956). Later on he gave some lame excuse that he had not got any payment for that song etc. (beetehuedin.com has all the relevant details on this controversy and the court case etc, in MK’s interview article).

A year later, Kapoor launched into the top ranks of Bollywood singers when composer and musical director Ramchandra Chitalkar tapped him to perform the show stopping “Aadha Hai Chandrama Raat Aadhi” in the film ‘Navrang’ (1959). Kapoor quickly proved himself a versatile talent even by Bollywood standards, performing in a number of regional Indian languages beyond his native Hindi. Within the sub genre of Marathi language productions, he was renowned as the playback singer of choice for superstar Dada Kondke — and over time his repertoire expanded, becoming virtually synonymous with patriotic anthems when he delivered “Mere Desh Ki Dharthi. . .” in Manoj Kumar’s 1967 film ‘Upkaar’, a rendition that also earned him the Best Male Playback Singer honors from India’s National Film Awards voters.

Kapoor remained a respected and popular figure across his five-decade cinema career, notching additional hits via “Iktara Bole. . .” (from ‘Yaadgaar’, 1970), “Fakira Chal Chala Chal” (from ‘Fakira’, 1976) and “Ab Ke Baras” (from ‘Kranti’, 1981). While his filmography embraces dozens of directors, he enjoyed his most fruitful collaboration with filmmaker BR Chopra, a partnership that extends across productions like 1959’s ‘Dhool Ka Phool’, 1963’s ‘Gumrah’, 1965’s ‘Waqt’, 1969’s ‘Aadmi Aur Insaan’ and 1973’s ‘Dhund’. From 1980 onward Kapoor appeared largely in small, regional films in the Punjabi and Bhojpuri tongues, and with son Rohan he mounted a series of live tours spanning across India and overseas. His contributions to the Bollywood industry were later recognized via the Indian government’s Padmashri Award as well as the Madhya Pradesh government’s Lata Mangeshkar Award. Poor health plagued Kapoor during the final years of his life, and he suffered a fatal heart attack in his sleep on September 27, 2008.

Today’s song is the 7th song from this film, to be discussed here. There are 10 songs in the film as per HFGK, but one Talat song was removed from the film. For this film, Kersi Mistry and Prabhakar Naren were the assistants for Bhatkar. Mistry later claimed that the above song was composed by him.


Song – Tere Dar Ki Bhikmangi Hai Daata Duniya Saari (Diwaali Ki Raat) (1956) Singers – Mahendra Kapoor, Lyrics – Madhukar Rajasthani, Music – Snehal Bhatkar

Lyrics (Provided by Sudhir)

tere dar ki
bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi maange mahal do-mehle
koi kutiya chhoti
koi maange sona chaandi
koi sookhi roti
re roti
koi maange laal salona
koi maange laal salona
koi sundar naari
maange koi sundar naari
waah re duniya rachne waale
shaan hai teri nyaari
shaan hai teri nyaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi tujh par phool chadha kar
maalik tujh rijhaaye
koi tujh par phool chadha kar
maalik tujh rijhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
donon hi mohtaaj hain tere
donon hi mohtaaj hain tere
donon tere pujaari
donon tere pujaari
khel rahe ho khel anokhe
kya samjhe sansaari
kya samjhe sansaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

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

तेरे दर की
भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई मांगे महल दो-महले
कोई कुटिया छोटी
कोई मांगे सोना चाँदी
कोई सूखी रोटी
रे रोटी
कोई मांगे लाल सलोना
कोई मांगे लाल सलोना
कोई सुंदर नारी
मांगे कोई सुंदर नारी
वाह रे दुनिया रचने वाले
शान है तेरी न्यारी
शान है तेरी न्यारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
दोनों ही मोहताज हैं तेरे
दोनों ही मोहताज हैं तेरे
दोनों तेरे पुजारी
दोनों तेरे पुजारी
खेल रहे हो खेल अनोखे
क्या समझे संसारी
क्या समझे संसारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी


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 : 3640 Post No. : 14466

“Bhed” (1950) was an Amba Cinetone (Jal K Baliwaala productions), Bombay presentation. Details of its producer, director, actors etc are not available. Total number of songs in the movie are not known. HFGK gives a list of nine songs and indicates that there may have been more songs in it whose details are not available.

Two songs from the movie have been covered in the past. Here is the third song from “Bhed” (1950) to appear in the blog. This song is sung by Geeta Dutt. Madhukar Rajasthani is the lyricist. Music is composed by Mukul Roy.

Only the audio of the song is available. The artists of the movie are not known so it is difficult to say how and on whom this song was picturised. 🙂


Song-Dil bhi hanse main bhi hansoo (Bhed)(1950) Singer-Geeta Dutt, Lyrics-Madhukar Rajasthani, MD-Mukul Roy

Lyrics

dil bhi hanse main bhi hansoon oon
dil bhi hanse main bhi hansoon oon
chaand uga taare khile
chaand uga taare khile
muskaaye huye armaan mere
naazon pale naazon pale
muskaaye huye armaan mere
naazon pale naazon pale

dil bhi hanse main bhi hansoon oon
dil bhi hanse main bhi hansoon oon
chaand uga taare khile
chaand uga taare khile
muskaaye huye armaan mere
naazon pale naazon pale
muskaaye huye armaan mere
naazon pale naazon pale
dil bhi hanse main bhi hansoon oon
dil bhi hanse main bhi hansoon oon

khushiyon ke tabassum mein chhipi prem kahaani
khushiyon ke tabassum mein chhipi prem kahaani
masti ka liye saaz meri gaaye jawaani
masti ka liye saaz meri gaye jawaani
jeewan mein bahaaro pe mere
phool khile dil bhi khile
jeewan mein bahaaron pe mere
phool khile dil bhi khile
khushiyon ke tabassum mein chhipi prem kahaani
khushiyon ke tabassum mein chhipi prem kahaani
masti ka liye saaz meri gaaye jawaani
masti ka liye saaz meri gaaye jawaani
jeewan mein bahaaron pe mere
phool khile dil bhi khile
jeewan mein bahaaron pe mere
phool khile dil bhi khile
dil bhi hanse main bhi hansoon oon
dil bhi hanse main bhi hansoon oon
chaand uga taare khile
chaand uga taare khile
muskaaye huye armaan mere
naazo pale naazo pale
muskaaye huye armaan mere
naazon pale naazon pale
dil bhi hanse main bhi hansoon oon
dil bhi hanse main bhi hansoon oon


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 : 3627 Post No. : 14450

“Deepak”(1951) was directed by Chandrashekhar for Ram Ganguly Productions, Bombay. This movie had Prithviraj, Vijaylaxmi, Umesh Sharma, Arun Ganguly, Sajjan, Kamal Mehra, Shanti Madhok etc in it.

This movie had ten songs in it. Two songs from the movie has been covered in the past.

Here is the third song from “Deepak”(1951) to appear in the blog. This song is sung by Uma Devi. Madhukar Rajasthani is the lyricist. Music is composed by Ram Ganguly.

Only the audio of this song is available. Uma Devi had sung as many as five songs in this movie and so it appears that she had sung for the leading lady of this movie. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get a work or phrase right in the song. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics.


Song-Ashqon ka kaarwaan chala (Deepak)(1951) Singer-Uma Devi, Lyrics-Madhukar Rajasthani, MD-Ram Ganguly

Lyrics

ashqon ka kaarwaan chala
rota huaa naseeb le
o o o
o o o
o o o
o oo o
o o o o

ashqon ka kaaarwaan chala
ashqon ka kaarwaan chala
rota huaa naseeb le ae
ashqon ka kaarwaan chala
manzil nahin use pata
kahaan chala ye kyun chala
raahon se bekhabar magar
phir bhi chala ye jaa raha aa aa
ashqon ka kaarwaan chala

ki thhi khata yahi ae dil
chaaha kisi ko pyaar se
ki thhi khata yahi ae dil
chaaha kisi ko pyaar se
jiski saza mili hai ye
keh bhi saki jubaan bhi kya
ashqon ka kaarwaan chala

laayi uda ke aandhiyaan
laayi uda ke aandhiyaan
jaane kahaan se ye ghata
o o o
o o o o
?? lagi
aag mera jahan jala
ashqon ka karba chala
o o o
o o o
o o o
shaad rahe sada hi wo
jisne ye din mujhe diya
ban ke tamasha ye khadi
dekhoon main apna ghar jala aa aa
ashqon ka kaarwaan chala


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

Blog Day : 3554 Post No. : 14261

So, minus 1 and plus 1, we still got to the 100th Yippeee film yesterday.

Minus 1 because on 3rd April, Atul ji had announced the Yippeee-ing of the film ‘Razia Sultan’ (1983), after posting its ‘sixth + seventh’ songs together – an announcement that turned out to be incorrect. Avinash ji pointed out that there is still one more song to be posted from this film. With some more leg work and info-search we now have more detailed info about the song list of this film. Below is the details of the songs of ‘Razia Sultan’ that I had shared with Atul ji the same day, in email.

I just checked the 1981-90  volume compiled by Jagdish Purohit and Ghulam Qureshi, with the involvement of Suman Chaurasia of Indore. This volume was published as the HFM lovers were/are waiting for Hamraaz ji to bring out his next volume.

In this volume, the compilers have listed 12 songs for this film. Since ‘Razia Sultan’ is a well known film, and a landmark in itself, I am sure lots of information sources are available and there is less chance that the compilers would be in error. In a musical film like this, number of songs certainly would not be limited to 6/7.

The list of all songs, as per this volume, is

  1. Ae Dil e Nadaan
  2. Aayi Zanjeer Ki Jhankar
  3. Naghma e Mohabbat
  4. Jalta Hai Badan
  5. Hariyala Banna
  6. Ae Khuda Shukr Tera
  7. Khwaab Ban Kar Koi Aayega
  8. Tera Hijr Mera Naseeb Hai
  9. Taraana e Jashn e Taajpsohi
  10. Shubh Ghadi Aayi Re
  11. Ae Dil e Nadaan (this may be part 2, or a reprisal)
  12. Falak Se Awaaz Hai

As per our blog listing, we have as yet covered 1, 2, 4, 5, 6, 7, 8 and possibly 11. As per the singer list, the songs 9 and 10 seem to important loaded songs; 9 has 4 singers and 10 has 6 singers. Both these songs have Ustad Faiyaaz Ahmed Khan, and Ustad Niaz Ahmed Khan in the list of singers.

Just like maybe Pakeezaah, the remaining songs are probably less heard, less popular ones, which may drop from the collective memory.  You may recall that the non-Ghalib items in Mirza Ghalib (3 in number) remained obscure for quite a long time, since the radio and the radio listening public focused on the Ghalib creations in this film.

So that was minus 1 for 3rd April.

However, Atul ji is quick to also point out that back on 16th Jan, we had actually Yippeee’d two films together on the same day. That had happened, because both Atul ji and I were separately working on two different Yippeee posts, and our communications to each other regarding the posts seemed to have crossed but not read by each other. So in quick succession, both he and I posted two Yippeee songs that day – “Gaadi Dilli Waali Chali” (‘Delhi Junction’, 1960) and “Soyi Soyi Chaandni Hai. . .” (‘Khazaana’, 1951). In his write up, Atul ji has noted that,

Coming to my observations that we need to reiterate our new year resolutions (Gregorian calender version) on new year (Hindu calender version) as well. On the first day of this year (viz Yesterday 15 january 2018), only the first half of the half the resolution (viz posting a debutant song for the day) was fulfilled till late in the night. Sudhir Ji had posted a “debutant” post for the day. I had noticed that he had planned for a “YIPPEE” post as well. But seeing that the “debutant” post had appeared so late, I was afraid that it might become a race against time to fully fulfil the new year resolution. So I decided to lend a helping hand to Sudhir Ji. I prepared this “YIPPEE” writeup and I decided to post it in case Sudhir Ji was strapped for time (which he certainly is these days).

Fortunately, I found that Sudhir Ji succeeded in posting the YIPPEE writeup just in the nick of time yesterday night, and it was that rollicking title song of “China Town”(1962), viz. Rangeen bahaaron se hai gulzaar China Town.

So the song that I had kept as the backup YIPPEE song was not required.

Today (16 january 2018), we find ourself in the same situation as yesterday. The “debutant” movie of the day was done and dusted with first thing in the morning by Sudhir Ji. Sudhir Ji then asked me for the list of YIPPiable movies, aiming to post the YIPPEE movie of today as well, while I concentrated on the O P Nayyar tribute post.

After the O P Nayyar tribute post was published late, I found that Sudhir Ji has prepared for the YIPPEE song of the day, and it was a song that was not available online as far as I can tell. But like last night, we are against racing against time and I do not find Sudhir Ji at the keyboard right now. So I feel that I need to step in and publish the backup YIPPEE song that I had prepared yesterday. That way, Sudhir Ji can publish his YIPPEE article on the next day.

In fact, as Atul ji was hastening to complete the above Yippeee post for that day, I was equally busy on my keyboard, and almost simultaneously – a difference of about 45 minutes, I too posted the Yippeee post for the day, only to realize immediately that the work is now duplicated. So I immediately went back into my post and added this footnote,

[Ed Note: It was only after this song got posted that I took a breather, only to notice that Atul ji has also already welcomed another film (the previous post) to Yippeee-land today. It most certainly seems like the ‘yippeee-ing hour’, what with two films racing to Yippeee-land, just within minutes of each other. 😀 😀 ]

So, the two miscues cancelled each other out, and we are firmly able to announce that 100 Yippeee films have happened in the first 100 days of this calendar year (Gregorian). 🙂

Now, moving beyond the century yesterday, we come to ‘IOI’ of the Yippeee train today. Atul ji had posted the penultimate song of this film yesterday. Yes, I refer to the 1965 film ‘Sangraam’ – a film that has a full list of very memorable songs. This film made its debut on our blog way back on 12th Nov, 2010. Just see the list below of the songs posted so far. Each one of these songs is a veritable gem – in a mood that is so representative of the music of the 1960s.

Main To Tere Haseen Khayaalon Mein Kho Gayaa Sangraam 1965 3195 12-Nov-10
Masti Mein Doley Jiyaa Ho Sangraam 1965 4270 25-Jul-11
Dam Dam Dam Dam Damroo Baaje Sangraam 1965 10405 25-Oct-14
O Tera Chhup Chhup Ke Chale Aana Sangraam 1965 14093 23-Feb-18
Nikla sainyya chaalbaaz re Sangraam 1965 14255 10-Apr-18

These songs represent a music that was full of verve, full of energy, full of a joyous expression of love, taking in a lot of influence of the western rock and pop genres. Rhythm was more or less the dominant temper of this music, which was made for a popular taste that was already initiated by an increasing influence of western rhythms on the young minds of this nation. The decade of the 1960s was the time when the joys of freedom and the pain of partition were both tending to fade into paler shades, getting better of the passing generations.

The film is produced under the banner of Film India, Bombay, and is directed by Babubhai Mistry. The cast of actors includes Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong.

After his earlier cameo appearances in films of 1950s, the first lead role that Dara Singh landed was in the film ‘King Kong’ of 1962. This was followed by ‘Aawaara Abdullah’ in 1963, then ‘Ek Tha Alibaba’, ‘King of Carnival’, ‘Rustom e Baghdad’, also 1963. In 1964, we see him in ‘Aandhi Aur Toofaan’, ‘Aaya Toofaan’, ‘Hercules’, ‘Dara Singh’ (yes, a film titled after his own name), ‘Rustom e Rome’, ‘Baadshah’, ‘Veer Bhimsen’. So when we come to 1965, Dara Singh has already appeared in a lead role in 12 films in just three years. The reason I am making this observation is that when I viewed this film in preparation for this post, I found a very interesting aspect. In this film, he is accompanied in the star cast by his younger brother Randhawa. The two brothers have already appeared together in ‘Aawaara Abdullah’, ‘Hercules’ and ‘Veer Bhimsen’. This is their fourth film together. As I viewed this film, I realized that the dialogues of both are dubbed in voices other than their own. I have not had time to sample once again his earlier films (some of which I know I have seen earlier) to ascertain whether this dubbing aspect is present in any of his earlier films. I do remember reading, well a long time back, that in the initial years of his career, his diction of Hindi/Urdu dialogues was less than desirable, as his voice had a very strong Punjabi accent to it. But I did not realize that he would be going through more than a dozen films and still be required to have his dialogues dubbed. The voice of the dubbing artist is very familiar, but I am not able to place a name to it right now.

The film is a costume drama with a strong element of palace intrigues and lost and found siblings stories. The corrupt Wazir (prime minister) has the king assassinated, and usurps the throne for himself. The king has two sons. The nanny for the two children is able to escape the bloodshed in the palace, along with one of the princes. The Wazir kind of adopts the second son, and raises him on a diet of lies and misinformation, hiding the truth about the death of the king, his father. The Wazir has a daughter, whom he wants to get married to the prince-in-custody. The prince-in-custody also fancies the lady. But the lady had lost her heart to a commoner in one of the villages in the kingdom, during some interludes that are very conveniently created by the story writers. The person she fancies, is actually the other prince, who had been taken away by the nanny and was raised by her in anonymity. So the tale of this film is about how the two brothers at first are enemies on account of fancying the same lady; then some way through the film, the truth about siblings is revealed and they become a team to vanquish the scheming Wazir and reclaim their father’s kingdom. And yes, the younger sibling gracefully steps aside for his elder brother to take over. 🙂

The one more interesting thing that I note about this film is the long drawn fighting sequences. Regular fans of Dara Singh films will recall the name King Kong. Yes, we had a wrestler by this name in that era when freestyle wrestling was a hugely popular spectator sport with the likes of Dara Singh, Randhawa, Goldstein, Imam Bux, Sheikh Ali, Hamida Pehalwan and of course the Great Gama Pehalwan etc. being the big names billed for such events. Believe it or not, but that was an era when for a freestyle wrestling match between some great names, one could expect anywhere from 1 Lakh to 2 Lakh spectators to be present (a Lakh is 100,000).

King Kong was a hugely bulky wrestler. His real name was Emile Czaja, and he was of mixed Indian – Australian descent, born in Hungary. He became a professional wrestler in the sub-continent and also appeared for bouts in all of south east Asia and Japan etc. Like Dara Singh he also migrated into Hindi films during the late 1950s and 60s, and appeared in many films generally as part of the villain’s team that would give a thrashing the heores to start with, and then at the end, get a beating of their lives at the hands of the lead wrestler. On YouTube, there are a few video footage clips of actual wrestling matches between Dara Singh and King Kong. Both of them appeared in many Hindi films together.

King Kong makes an appearance in this film also, as one of the henchmen of the devious Wazir. He has an additional significant presence in this film, as he also plays the father to the the young lady (Aruna Irani) who is the love interest of Maruti, the sidekick of Dara Singh in the film, making up a very detailed CSP (comic side plot). He fights on the side of the baddies, but eventually gives in to the goodies, since his daughter is in love with one of the goodies team member.

Ah yes, so I was talking about the long drawn out fight sequences in the film. They begin to appear almost from the start of the film, continue regularly throughout. Given these segments, the CSP and the songs, the actual story and dialogues have very little room to maneuver themselves. Everything other than the fight sequences seem to be in a hurry to get themselves done with. 🙂

Today’s song is the sixth song in the film. And what a rollicking dance song this one is. The trio of music directors – Lala Asar and Sattaar seem to be outdoing themselves in getting through the songs of this film. The song is filmed as a group dance song. The occasion is that the Wazir’s daughter has fled her father’s palace, choosing to come to the village where Dara Singh resides with his mother (actually his nanny from the royal babyhood days). The Wazir’s soldiers are chasing her, and they have been given a good beating by Dara Singh, Maruti and their team. This song is a celebration of their victory. We see Dara Singh and Geetanjali (Wazir’s daughter) and Dara Singh’s ‘mother’ seated prominently amongst the audience watching this performance. Maruti is part of this group dance. The video clip that is available is somewhat out of focus, on account of colors being splayed a little, as the photochemicals on the celluloid have aged. The face of the lead dancer is not very clear, and before I hazard a guess as to her identity, I request other friends and readers to please help identify this actress.

Enjoy this final song from this film to make it on to the billboard of our blog. And with that, we announce the Yippeee-dom status to this film. All aboard.

 

Song – Dhali Re Dhali Re Saanjh Dhali  (Sangraam) (1965) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Lala Asr Sattaar
Unidentified Male Voice
Chorus

Lyrics

teek teek jhungha ka jhoonga
teek teek jhungi ki jhungi

teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

bol sakhi
mere daaman mein kya hai
machla hua
aa ke mausam chhupa hai
meetha meetha
chhaaya mujh pe nasha hai
meetha meetha
chhaaya mujh pe nasha hai
ye to abhi
pehli pehli ada hai
chain luta
jaane kya ho gaya hai
mann ki lagan
ho ke magan
dol rahi jaise pawan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

naam mera
dil pe likhte deewaane
bhanwre sadaa
aayen ras to churaane
aai badi
rang mujh pe jamaane
aai badi
rang mujh pe jamaane
uljhe agar
bolo saawan suhaane
uljhe bina
suljhe naa dil ke taraane
jawaan jawaan chhaaya samaa
husn bhara gora badan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

raat nai
aai hai un se milaane
husn chala
ishq pe tan mann lutaane
chaand aaya
aaj mujhko bulaane
chaand aaya
aaj mujhko bulaane
kaun hai wo
hum se lagi tu chhupaane
preet bhare
nain batiyaan na maane
behki nazar
jaaun jidhar
aata mujhe
wo hi nazar
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

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

टीक टीक झुंघा का झूंघा
टीक टीक झुंघी का झुंघी

टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

बोल सखी
मेरे दामन में क्या है
मचला हुआ
आ के मौसम छुपा है
मीठा मीठा
मुझपे छाया नशा है
मीठा मीठा
मुझपे छाया नशा है
ये तो अभी
पहली पहली अदा है
चैन लुटा
जाने क्या हो गया है
मन की लगन
हो के मगन
डोल रही जैसे पवन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

नाम मेरा
दिल पे लिखते दीवाने
भँवरे सदा
आयें रस को चुराने
आई बड़ी
रंग मुझपे जमाने
आई बड़ी
रंग मुझपे जमाने
उलझे अगर
बोलो सावन सुहाने
उलझे बिना
सुलझे ना दिल के तराने
जवां जवां छाया समां
हुस्न भरा गोरा बदन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

रात नई
आई है उनसे मिलाने
हुस्न चला
इश्क़ पे तन मन लुटाने
चाँद आया
आज मुझको बुलाने
चाँद आया
आज मुझको बुलाने
कौन है वो
हमसे लगी तू छुपाने
प्रीत भरे
नैन बतियाँ ना माने
बहकी नज़र
जाऊन जिधर
आता मुझे
वो ही नज़र
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)


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 : 3509 Post No. : 14099

“Deewaali Ki Raat”(1956) was produced by Vishandas Sapru and directed by Deepak Asha for V.A.R.Productions. The movie had Talat Mehmood, Roopmala, Shashikala, Gope, Motisagar, Neeta etc. in it.

Five songs from the movie have been discussed in the past. Here is the sixth song from “Deewaali Ki Raat”(1956) to appear in the blog. This song is sung by Madhubala Jhaweri and Talat Mehmood. Madhukar Rajasthani is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available, but it is clear that this song was picturised on Talat Mehmood himself. I request our knowledgeable readers to tell about the lady who lip syncs the song in Madhubala Jhaveri’s voice.


Song-Kehne ko bahut kuchh kehna thhaa (Deewaali Ki Raat)(1956) Singers-Madhubala Jhaveri, Talat Mehmood, Lyrics-Madhukar Rajasthani, MD-Snehal Bhatkar
Both

kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
takraayi nazar sharma hi gaye
is jhukti nazar ko dekh sanam
hum piye bina lehra hi gaye
hum piye bina lehra hi gaye
kehne ko bahut kuch kehna thha

zulfon ki ghataaon mein chhup kar
zulfon ki ghataaon mein chhup kar
ji bhar ke chala lo teer-e-nazar
ji bhar ke chala lo teer-e-nazar
ulfat ki ada ke deewaane
sau teer jigar par kha hi gaye
sau teer jigar par kha hi gaye
kehne ko bahut kuchh kehna tha

tum raaz-e-mohabbat kya samjho
tum ishq ki baaten kya jaane
tum ishq ki baaten kya jaane
haye ae
kacche dhaage se bandh kar
sarkaar meri tum aa hi gaye
sarkaar meri tum aa hi gaye
kehne ko bahut kuch kehna thha

ae saaz-e-jawaani chhed koi
ae saaz-e-jawaani chhed koi
ek geet suhaana pyaar bhara
ek geet suhaana pyaar bhara
do pyaar bhare dil aaj miley
manzil ko apni pa hi gaye
manzil ko apni pa hi gaye
kehne ko bahut kuchh kehna thha

ae raat yahi par ruk ja tu
ae chaand sitaaron mat dhhalna
ae chaand sitaaron mat dhhalna
andaaz-e-bayaan se jaahir hai
hum un ke dil ko bha hi gaye
kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
kehne ko bahut kuchh kehna thha


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

Blog Day : 3507 Post No. : 14093

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 7
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ओ’ – ओ तेरा छुप छुप के चले आना

मेरी आवाज़ ही पहचान है
गर याद रहे

जी, अब तो सिर्फ आवाज़ ही सहारा है। और यादें। ज़िंदगी काश कुछ अरसा पहले मिली होती॰ ॰ ॰

Rafi Sb never shied away from giving playback to any actor, no matter the age, the role, or even stature in the industry. He would gladly lend his voice to new comers, as well as to lesser known artists, be they the onscreen debutants, or be they new or less popular music directors and lyricists. At times, he would even accept a very nominal amount, or even zero amount, as his fee, when a producer apologetically mentioned about his financial circumstances. Such stories are legion in the industry.

Today’s song is a ‘romantic’ duet from the 1965 film ‘Sangraam’. It is a love song, in a manner of speaking – however it is picturized on the pair that forms the ‘comic side plot’ or CSP in the film. The actors performing this song online are Maruti and Aruna Irani.

The film is produced under the banner of Film India, Bombay and is directed by Babubhai Mistry. This film is another Dara Singh starrer, and its cast of actor is listed as Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong. The music is from the trio of music directors – Lala, Asar and Sattaar. The songs of this film are written by Aish Kanwal and Madhukar Rajasthani, and this song today is from the pen of the latter.

Comic side plot in Hindi films is akin to the concept of ‘comic relief’ of the stage and theatre dramatics. In many films, not just Hindi, but in other regional cinema also, we find that the hero has a friend or a sidekick, who in turn has a secondary storyline running in parallel with the storyline of the hero. The highlight of this storyline is the romantic angle which involves one of the supporting actresses in the film, generally a friend of the heroine. This side plot progresses alongside the main storyline. Mostly, the male protagonist in this side plot is a comedian. And the relative importance of the comedian actor, of the role played, and of the side plot itself is measured by whether this side plot pair gets to perform a song on screen. In most films, we find that yes, this side plot romantic pair gets to sing at least one, and occasionally, even more than one songs.

In this film, the side plot players are Maruti and Aruna Irani. And they have a song to play. Romance is being expressed, albeit in the typical comic style of Maruti, with a discussion on possibilities of a marital alliance thrown in for good measure. Rafi Sb’s voice is accompanied by Kamal Barot. And we get to hear a treat of an entertaining duet – romance in the side plot alleys. Enjoy.

 

 

Song – O Tera Chhup Chhup Ke Chale Aana (Sangraam) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Madhukar Rajasthani, MD – Lala-Asar-Sattaar
Mohammed Rafi + Kamal Barot

Lyrics

o tera chhup chhup ke chale aana
mera jhatpat se machal jaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
haaye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

mere pyaar ka bole kabootar
ghum o ghum o ghum o ghum
mere pyaar ka bole kabootar
ghum o ghum o ghum
aur kisi ko dena chakkar
yoon yoon yoon yoon
aur kisi ko dena chakkar
yoon yoon yoon
achha nahin dil ko jalaana
hoye haaye
haaye haaye
mushqil hai baat banaana
oo oo oo oo oo
maan ja meri baanki chameli
chhod de ab tadpaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
ho ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

shaadi kar len ab hum pakki
chal chal chal chal
shaadi kar len ab hum pakki
o chal o chal o chal
babul se tu kar le nakki
kal kal kal kal
babul se tu kar le nakki
kal kal kal
gar usne kaha na maana
haaye haaye haaye
hoye hoye
main chhodoon saara zamaana
aa aa aa aaa
dekh rangeeli badal gai to

zehar padega khaana
haan
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
hoye oo ooye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

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

ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
हाए
राम कसम  इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं ओ घूं
मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं
और किसी को देना चक्कर
यूं यूं यूं यूं
और किसी को देना चक्कर
यूं यूं यूं
अच्छा नहीं दिल को जलाना
होय हाए
हाए हाये
मुश्किल है बात बनाना
ओ ओ ओ ओ ओ
मान जा मेरी बाँकी चमेली
छोड़ दे अब तड़पाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
हो राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

शादी कर लें अब हम पक्की
चल चल चल चल
शादी कर लें अब हम पक्की
ओ चल ओ चल ओ चल
बाबुल से तू कर ले नक्की
कल कल कल कल
बाबुल से तू कर ले नक्की
कल कल कल
गर उसने कहा ना माना
हाए हाए हाये
होय होय
मैं छोड़ूँ सारा ज़माना
आ आ आ आ
देख रंगीली बादल गई तो
जहर पड़ेगा खाना
हाँ
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
होय ओ ओए
राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना


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

Blog Day : 3506 Post No. : 14086

Missing Films of 1960s – 61
– – – – – – – – – – – – – – –

With this post, this series enters the sixties. 😀 😀
No no, I do not mean to say that we are entering the 1960s, we did that long back. In fact this blog itself started with the 1960s – the song “Miley Na Phool To. . .” from the film ‘Anokhi Raat’ is from the 1960s. With this post, we now come upon the 61st episode of this series. The home work assignment given by Katie Ben, has now come a long way in adding more new, I mean, as yet unrepresented films to the blog. This series was initiated on 20th September, 2015, and we are now into the 29th month that this series has been pursued. In the process, we have added 61 more films from the 1960s, to this blog. Some more interesting details about this journey, coming up in the next episode.

Today’s debut film is ‘Arabian Nights’ from 1967. This film also has an alternate title – ‘Panic In Baghdad’. The film is directed by Nanabhai Bhatt for the banner of Ramkishan Films, Bombay. The star cast is listed as Ajit, Mumtaz, Bhagwan, Rajan Haksar, Shyam Kumar, Ram Mohan, Madhumati, Hercules, Prince Arjun, Julian, Heeralal, Mohan Choti, Poornima, Bela Bose, Azad.

The film has six songs listed. Music direction is by the duo of Lala Sattaar. Regulars will remember, this duo also belongs to the trio of music directors Lala Asar Sattaar. Three song writers have contributed their talent to this film – Akhtar Romani, Aish Kanwal and Madhukr Rajasthani. This song is written by Madhukar Rajasthani. The singing voice is that of Asha Bhosle.

From the sound of it, this is a dance song. Looking at the star cast, it can only be guessed that the song may have been picturized on either Bela Bose or Madhumati. I would like to say Bela Bose, but then that is just a guess. I would request our more knowledgeable readers to add more information, if available, about this film, and the picturization of this song.

With this post, the film ‘Arabian Nights’ of 1967 opens its account on our blog.

Song – Husn Ke Jalwe Hain Jawaan  (Arabian Nights) (1967) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Lala Sattaar

Lyrics

husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

raat bhar ye shama saath degi
raat bhar ye shama saath degi
jaan tujh pe luta ke kahegi
ye mohabbat hamaari
hamaari rahegi
hum rahen na rahen
hum rahen na rahen
baaki rahega nishaa..aan
husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

mayqade mein nazar se pilaane
mayqade mein nazar se pilaane
eid ka chaand niklaa deewaane
ye muqaddar tumhin ko diya hai khuda ne
koi piye na piye
koi piye na piye
tum to piyo jaan e jaa..aan
husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां

रात भर ये शमा साथ देगी
रात भर ये शमा साथ देगी
जान तुझ पे लुटा के कहेगी
ये मोहब्बत हमारी
हमारी रहेगी
हम रहें ना रहें
हम रहें ना रहें
बाकी रहेगा निशा॰॰आँ
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां

मयक़दे में नज़र से पिलाने
मयक़दे में नज़र से पिलाने
ईद का चाँद निकला दीवाने
ये मुकद्दर तुम्हीं को दिया खुदा ने
कोई पिये ना पिये
कोई पिये ना पिये
तुम तो पियो जान ए जाँ॰॰आँ
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां


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 TWELVE years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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

15786

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4345

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Active for more than 4000 days.

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