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

Posts Tagged ‘Manna Dey


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4846 Post No. : 16634

The song, tum jo aao to pyaar aa jaaye zindagi mein bahaar aa jaaye was from a ‘B’ grade film, ‘Sakhi Robin’ (1962) sung by Manna Dey and Suman Kalyanpur. The song was written by a then struggling lyricist, Yogesh Gaud which was set to music by Robin Banerjee who was trying to establish himself as the music director in Hindi films but did not succeed. If this song was to appear in an ‘A’ grade film, probably this duet would have been sung by Mohammed Rafi or Mukesh with Lata Mangeshkar. Another popular song, na jaane kahaan tum thhe na jaane kahaan ham thhe from ‘Zindagi Aur Khwaab’ (1961) was sung by Manna Dey with Suman Kalyanpur set to music by Dattaram who was also trying his best to graduate from assistant to Shankar-Jaikishan to an independent music director since 1957.

Personally, I was very happy that these two romantic songs were sung by Manna Dey with Suman Kalyanpur as they broke the monotony of our ears getting flooded with the familiar voices of the topmost male and female playback singers of that time. These two songs became popular as they were regularly played on Vivid Bharati.

What made me to remember these two songs is the 8th Remembrance Day of Manna Dey today, October 24, 2021. It is Manna Dey’s bad luck that his singing versatilities could not be fully exploited by the music directors. He could not become the mainstream playback singer as his contemporary playback singers, Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar were preferred by producers, directors and actors. Nonetheless, Manna Dey who commenced his playback singing career in Hindi films in 1942 continued to sing until 1990s – a period of 5 decades during which he sang close to 1375 songs in diverse genres in Hindi films and composed songs as a music director for 15 Hindi films.

Probodh Chandra Dey, known by his pet name, Manna Dey (01/05/1919 – 24/10/2013) had the initial training in music from his uncle, K C Dey. When K C Day decided to shift to Mumbai in the early 1942 on the invitation of Chimanlal Trivedi of Laxmi Productions, Manna Dey accompanied him to assist him both in his filmy career as a music director as well as to look after his uncle who was blind. It was K C Dey, who gave Manna Dey his debut song, a duet with Suraiya, jaago aayi usha panchhi bole jaago in ‘Tamanna’ (1942). Neither the songs nor the film created any ripple on the box office front. He also got opportunity to sing three songs in ‘Ram Rajya’ (1943) which was first offerred to K C Dey but declined the offer by saying that he sang only his self-composed songs.

While Manna Dey continued to assist K C Dey, he was entrusted to Ustad Aman Ali Khan of Bhendi Bazar Gharana by his uncle to get him trained as a vocalist in Hindustani classical music. He also took training in learning Urdu to improve his diction. In 1946, K C Dey returned to Kolkata after which Manna Dey assisted music directors Hari Prasanna Das, Khemchand Prakash and S D Burman. Somehow, he detested the work of music direction and instead concentrated on playback singing.

Manna Dey started his playback singing career at a time when Mukesh had started his career as a singer-actor in 1941 followed by Mohammed Rafi in 1944. It would be interesting to know as to how they fared in their initial play-back singing career in the 1940s. As I expected, Mohammed Rafi topped among them with around 325 songs, followed by Mukesh (around 160 songs). Manna Dey came a distant third with around 60 songs only. It was apparent that Manna Dey getting branded as a specialist in classical singing and singing for character actors in the genre of prayer or philosophical songs, had affected his playback singing output significantly.

In the 1950s also, Manna Dey was not yet in the reckoning as one of the main playback singers for the lead actors. The producers/distributors of the films preferred Mohammed Rafi, Mukesh, and Talat Mehmood in that order. Manna Dey would get the chance to sing for the lead actors only if the song was based on a classical raagas. Even in other genres of songs, he got only limited opportunity to sing for the lead actors.

In one of his interviews, Manna Dey had revealed that sometime in 1954, he had contemplated to quit the Hindi film industry out of the frustration of not getting opportunity to sing for the lead actors and also in diverse genres. It was his wife, Sulochana Kumaran who encouraged him to give up the defeatist attitude and prove that he could sing any type of songs.

A major opportunity came to Manna Dey in the film ‘Shri 420’ (1954) when Mukesh after singing two songs for Raj Kapoor excused himself from singing more songs as he had signed a contract with the producer of ‘Maashooqa’ (1953) which prohibited him singing in other films until the release of the film. This gave opportunity for Manna Dey as he was chosen to sing for Raj Kapoor for 3 remaining songs. He also sang for Raj Kapoor in ‘Chori Chori’ (1956) and in ‘Parvarish’ (1958). All these songs became very popular. With these success, Shankar-Jaikishan got confidence to make Manna Dey sing 4 songs for Shammi Kapoor in ‘Ujjala’ (1959). But thereafter it was back to square one as in the 1960s, producers and actors preferred Mohammed Rafi and Mukesh over Manna Dey.

Probably, to prove his point that he could sing any genre of songs, in the 1960-70s, he sang a few beautiful non-film songs of the diverse genre such as nazaaron mein ho tum khayaalon mein ho tum, ye aawaara raaten ye khoyi si baaten, ‘nathhili se toota moti re’, ‘saawan ke rimjhim mein thirak thirak naache’ and many more.

In the 1960s, Manna Dey sang diverse types of songs some of which were not to his likings. But he accepted such songs to prove a point that he could sing any genre of Hindi films songs. Since he was regarded as a specialist in classical rendition, some music directors started using his classical rendition in the comical situations. For instance, he sang a Bhairavi thumri, arre hato kaahe ko jhoothhi banaao batiyaan in ‘Manzil’ (1960) which was made very famous by Ustad Faiyyaz Khan. In the similar situation, Manna Dey also rendered phool gendwa na maaro in ‘Dooj Ka Chaand’ (1964). He was also the main voice in one of landmark qawwalis of Hindi films, na to kaarwaan ki talaash hai in ‘Barsaat Ki Raat’ (1960).

Manna Dey also sang fun songs mostly for Mehmood in the 1960s like main tere pyaar mein kya kya na bana dilbar in ‘Ziddi’ (1964), aao twist karen jaag uthha mausam in ‘Bhoot Bangla’ (1965), o meri maina maan le mera kehna in ‘Pyaar Kiye Jaa’ (1966) and the iconic song, ek chatur naar kar ke singaar in ‘Padosan’ (1968).

Despite Manna Dey proving himself to be a versatile singer, he never got his dues that he deserved from Hindi film industry. From his interviews most of which he gave after he took the ‘self-imposed exile’ from Hindi film industry in the 1990s, his frustration about the way he was treated by Hindi film industry is quite apparent. In his interviews, Manna Dey gave a few instances where producers openly said their preference for Mukesh in front of him for the songs he was to sing. Fortunately, in most such cases, the concerned music directors stood for him. One such instance which Manna Dey did not reveal openly but shared with Pulak Bandyopadhyay, the lyricist for Bangla films and non-films songs:

When Manna Dey was rehearsing the song, tere naina talaash karen from ‘Talaash’ (1969) with S D Burman in his music room, O P Ralhan, the producer-director of the film walked in and listened to the song. In the presence of Manna Dey, O P Ralhan asked Burmanda as to why not Mukesh sing. Burmanda replied that Mukesh can not sing this song. O P Ralhan’s repartee to Burmanda was that why did he compose song which could not be sung by Mukesh ? Burmanda lost his cool and told O P Ralhan that if he wants S D Buirman’s music for ‘Talaash’, this song will have this tune and it would be sung by Manna Dey only. If he does not like this arrangement, he can look for another music director. O P Ralhan retreated from his stand. On the day of celebration of the silver jubilee of the film, O P Ralhan said ‘S D Burman Saab, you are our Dada – our eternal Dada’ [from Pulak Bandyopadhyay’s autobiography in Bengali ‘Kathay Kathay Raat Hoye Jay’ quoted in ‘S D Burman – The World of His Music’ by Khagesh Dev Burman (2013)].

Probably, Manna Dey lacked the ‘glamour’ quotient which his contemporaries, Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar had due to their large and strong fan-followings many of them could turn out to be the ‘fanatic’ fans. A large fan-following drives the box office demand for a playback singer. Nonetheless, Manna Dey has left with us scores of his immortal songs as a proof of his versatility to cherish his memory.

On the occasion of 8th Remembrance Day of Manna Dey, I have selected one of his trade mark semi-classical songs, ‘man bhaawan sangeet suhaawan’ which is the only remaining song from ‘Chandramukhi’ (1960) to be covered on the Blog. The song was written by Bharat Vyas which was set to music by S N Tripathi.

‘Chandramukhi’ (1960) had 8 songs of which 7 songs have been covered on the Blog as under:

Songs Date of Posting Singers
Nain ka chain churaakar le gayi 29/03/2010 Mukesh
Aaj rituon ka raaja aaya 18/04/2011 Rafi-Suman Kalyanpur
Tera man mera man miley preet yoon khile 20/05/2012 Lata-Mukesh
Nadi kinaare koi pukaare 09/12/2012 Geeta Dutt-Rafi
Nainon se nainon ki baat huyi 08/02/2013 Lata
Chaandni jhilmil kare taaron bhari ye raat hai 03/12/2016 Sudha Malhotra-Lata
Bas gayi hai aankhon mein 18/12/2020 Manna Dey-Suman Kalyanpur

With the last song being covered now, all the songs of ‘Chandramukhi’ (1960) have been covered on the Blog.

————————————————————————————————————————–

Note: The information used in this article on the life sketch of Manna Dey has been taken from his interviews which appeared on print as well as electronic media.

Audio Clip:

Song-Manbhaawan sangeet suhaawan (Chandramukhi)(1960) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

O…….m

man bhaawan sangeet suhaawan
man bhaawan sangeet suhaawan
madhur madhur madhu been bajaawan
sa ma ma ga dha
pa ma dha ri
sa ni dh pa ma ga ri sa
man bhaawan sangeet suhaawan

aadi bramah lay sur upjaaye ae ae ae
aa aa aa aa aa aa
aadi bramah lay sur upjaaye
sapta suran ke haath sajaaye
mahaguni Naarad ne apni
veena par kiske gun gaa..ye
man bhaawan sangeet suhaawan

saraswati ki taan sureeli
sunkar dharti dol uthhe
aaaaa
aa aa aa aa aa
aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aaa
saraswati ki taan sureeli
sunkar dharti dol uthhe
jan jan ki sangeet sudha se
dason dishaayen bol uthhe
ma…aa
ma ma dha
ni re gaa re gaa re saa
ni re saa
paa ni saa

jal thhal dole ambar dole
dhara kaa kan kan bol uthe
mahadev kaa maharaag sun
sheshnaag bhi dol uthhe

[Tabla notations recited by
Manna Dey and an unidentified male voice]

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
man bhaawan sangeet suhaawan
man bhaawan sangeet suhaawan


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4837 Post No. : 16621 Movie Count :

4527

‘Sonal’ (1973) was an obscure film which was produced under the banner of A K Productions. The film was directed by Prabhat Mukherjee. The star cast included Mallika Sarabhai and Jatin Khanna in the lead roles supported by Iftikhar, Gajanan Jagirdar, Sulochana, Sona, Gurnam Singh, Tarun Ghosh etc. It was debut film for Mallika Sarabhai and Jatin Khanna. The film’s censor certificate was issued on December 26, 1973. I am not sure if the film was released.

The name of the film’s director, Prabhat Mukherjee (1917-1997) sounded familiar to me as I had come across his name in the context of Arundhati Devi while doing a series ‘Hindi Songs in Bangla Films’ for the Blog. Arundhati Devi was the actor-singer and director of many Bangla films. She has acted with Prabhat Mukherjee in Bangla films during 1950-56.

According to Indrani Maitra, the sister of Prabhat Mukherjee, he had started his career with All India Radio, Calcutta (Kolkata) in the early 1940s. Thereafter, he switched over to Bangla films as an actor from 1950. He turned writer-director with his Bangla film ‘Maa” (1956) in which Arundhati Devi was the lead actress with Asit Baran. Prabhat Mukherjee and Arundhati Devi got married in 1955 but their marriage was short-lived resulting in a divorce in 1957 after which Aundhati Devi got married to Tapan Sinha. Prabhat Mukherjee got married for the second time, but this marriage too resulted in a divorce.

Prabhat Mukherjee also directed films in Oriya, Assamese and Hindi. ‘Shayar-e-Kashmir Mahjoor’ (1972) was his first Hindi film as a director in which Balraj Sahni acted with his son, Parikshat Sahni. Apart from ‘Sonal’ (1973), he also directed ‘Chimni Ka Dhuan’ (1973) with Motilal and Balraj Sahni. It appears that both these films may have got delayed in their censor certification and releases.

Prabhat Mukherjee continued to be associated with Bangla films into 1980s. While on his filmy career front, he won as many as 5 National Awards for his films that included Bangla, Oriya and Assamese during 1959-64, on a personal front, he was emotionally affected by his two divorces. To get the peace of mind, he visited Dwarkamai in Shirdi which was the place where Shri Sai Baba spent a major part of his life until his death. Here, Prabhat Mukherjee found peace, courage and strength to face the life. He devoted most of of his time studying and teachings of Shirdi Sai Baba. He also wrote a book ‘Redemption at Shirdi’ in Bengali which was later translated into English by his sister, Indrani Maitra and got published after his death in 1997.

The film ‘Sonal’ (1973) is not available for viewing on any on-line platforms. So, I had to rely on film’s booklet giving the synopsis of the story which was reproduced on ‘Cinemaazi’ in Hindi. The gist of the story of the film is as under:

College going Sonal (Mallika Sarabhai) has grown up under the loving care of her sister-in-law (Sulochana Latkar). During a family picnic, Sonal meets Dr. Rajeev (Jatin Khanna) who has been working in a leprosy hospital as a part of his desire to serve such patients. He has only two aims in his life – to conduct research to eradicate leprosy and to look after his deaf and mute sister.

Both Sonal and Dr. Rajeev meets regularly which culminates into liking for each other. They wish to get married. However, Sonal’s elder brother (Iftikhar) who is well educated and a lawyer, opposes the marriage taking an conservative view. It is his wife (Sonal’s sister-in-law) who is not so much educated but has a liberal attitude, arranges for the marriage.

Rajeev remains busy with his hospital as well as his research works for which he is assisted by Laxmi (Sona). Over a period of time, Sonal becomes jealous of Laxmi who is with Dr Rajeev most of the time. Laxmi on the other hand is jealous of Sonal who is very much loved by Rajeev. Neither Sonal could understand the importance of Laxmi in Dr. Rajeev’s research work not Laxmi understands Dr Rajeev’s love for his wife.

The situation reaches a flash point when Dr Rajeev’s close associate in research work becomes a catalyst for creating a rift between Sonal and Dr Rajeev which leads to their separation. Neither her lawyer-brother’s conservative attitudes nor a sympathetic attitude of her sister-in-law can bring the reproachment between Sonal and Dr Rajeev. Finally, the realisation on the part of Soanl that both she and Dr Rajeec are the soulmate and the external factors should not affect their relationship, gets them united.

‘Sonal’ (1973) has 4 songs written by Yogesh Gaud which are set to music by Manna Dey. In fact, after a gap of over 15 years, Manna Dey took the baton as a music director of this film which was his last film as a music director.

I present the first song ‘deewaangi deewaangi ye pyaar ki’ from the film to appear on the Blog. The song is rendered by Manna Dey and Usha Rege. On the basis of the lyrics, it appears that the song has benn picturised on Jatin Khanna and Mallika Sarabhai during their courtship.

With this song, ‘Sonal’ (1973) makes its debut on the Blog.

Audio Clip:

Song-Deewaangi ye pyaar ki (Sonal)(1973) Manna Dey, Usha Rege, Lyrics-Yogesh, MD-Manna Dey
Both

Lyrics

deewaangi ee
deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi

ye kya nainon mein hai
toone kaajal se likhaa
honthon se
dheere se
bikhre hansi kyun bataa aa
ho o o o
ho o o o
maine naam tera
nainon mein hai likh liya
honthon se
chhalke re
nagma tere pyaar kaa aa aa

ye khumaari ye bekaraari
dekho kam ho na kabhi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi

toone har janam mein
maang bhar di saajna
janmon kaa
ye naata
dekho kabhi toote naa aa

ho o o o
ho o o o
bolo kab akele
ham jiyen tere bina
saathi re
dekho ye
bandhan kabhi chhoote naa aa
toot jaaye koi na haay
teri meri ye khushi

deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein

dil ki mehfil mein
chhayi rahe koi bekhudi
deewaangi


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4777 Post No. : 16529

Today is the Second Shrawan Somvar of 2021, in this part of India. At the same time, for half of India, today is the Last Shrawan Somvar this year. For us here, still 3 more Mondays are in balance for this month of Shrawan. This is the beauty of India.

Our ancestors had achieved ” अनेकता में एकता “. The months, festivals,Tithis, Muhurtas and all other matters are the same all over India. Only counting the start of a month is different in different areas, depending on their geographical locations, rainfalls, crops, weather and daylight time variations. Not only this, but even adding an extra month every 33 to 35 months is also the same everywhere, unlike western method of adding extra days in some months every year and then adding an extra day every 4 years to match Solar year time frames. Ours is a Lunar based system of Calendar. So, based on the counting system there are 2 parts of India.

Hindu calendar, which ends the lunar month on no moon day, is known as Amanta or Amanta lunisolar calendar. This calendar is mainly followed in the states of Andhra Pradesh, Assam, Gujarat, Maharashtra, Karnataka, Kerala, Tamil Nadu, West Bengal and Tripura.

Hindu calendar, which ends the lunar month on full moon day, is known as Purnimanta or Purnimanta lunisolar calendar. This calendar is mainly followed in the states of Bihar, Chhattisgarh, Haryana, Himachal Pradesh, Jammu and Kashmir, Jharkhand, Madhya Pradesh, Orissa, Punjab, Rajasthan, Uttarakhand and Uttar Pradesh.

From: drikpanchang.com

It is very sad that because of intentional wrong education for the last 200 years, we were made to forget all the details of our cultural lifestyles. Thankfully, nowadays some awakening is observed. Hopefully, we should be once again getting all the lost benefits once again.

Sometime back I saw 3-4 videos on Whatsapp, wherein the surveyor asked some simple questions on our Mythology to some College students- girls and Boys. Their answers were pathetic. For example, his one question was ” whose brother was Kans ?” The young generation’s answers were Duryodhan, Ravan, Hanuman, Karna etc etc. They did not know the simple division of Ramayan and Mahabharat periods. There is no point in blaming them. Were they ever trained/ taught anything about it through their Textbooks ? No. Never ! Reading outside the Text books is non existent, especially after the arrival of Video games and Mobile phones.

Since childhood we have been hearing that there are 33 Koti (Karod) Gods in Heaven. Has anyone tried to know what is the truth ? KOTI in Sanskrit language means Level or Class. Like when you say, ” उच्च कोटी के विचार ” or ” उच्च कोटी का व्यवहार ” etc. Actually, Upnishads say that there are 33 levels of Gods or Gods are divided in 33 levels. Like this…

No. Class/Level
8 VASU means 8 Gods are at Vasu Level
11 Rudra
1 Indra
1 Prajapati
12 Adityas
Total 33 Koti/Levels

How many people know this ? It is a sad state of affairs that due to inadequate knowledge of basic concepts and matters of culture and religion, we cut a sorry figure when we are criticised on the matters of our Pride. To subscribe to the fashionable slogan ” Religion should be behind your house doors. It is a highly personal matter.” Nowadays nothing is Personal. If you are not aware of things which can protect your religion and culture you have to suffer many times. I do hope things may change in the future.

It is our belief that the Divine Trinity of Shri Bramha, Vishnu and Mahesh run and control this Universe. Bramha- the Creator, Vishnu- the sustainer and Mahesh- the destroyer regulate our Birth, Life and Death. Since Bramha has a curse that He will not be worshipped in Kaliyug, the population is divided in 2 parts – those who worship any form of Vishnu (Vaishnav/Vaishnavite) and those who worship any form of Mahesh (Shaiv/Shaivite). You will find Mythological stories, films, dramas and books etc on either Vishnu or Mahesh in their different forms. For example – The Dashavtar or the 10 incarnations of Vishnu.

God Mahesh is usually depicted as constantly doing Tap (तप ), with Ash smeared all over his body. Even his Ganas (followers/assistants) have fearful appearances. The other side of Mahesh is one who promotes arts like Dancing. You must have seen his idol Natraj – he is Shiv ji !.

Since childhood, I have been fasting on Shrawan Somvar. I am quite a religious person mentally ( not by karmkand), but I do not show off. This religious trend has been passed on to me through generations, so its in the blood, I suppose. We are staunch Shiv-Bhakts and we like anything that is about Shiv ji…..including his films. I have rarely missed any films on Shiv ji.

Today’s bhajan is from the film Jai Mahadev-1955. It is sung by Bhajan Gayak of repute – shri Gopal Mishra ji. As far as I know, he has sung only this Bhajan in a Hindi film. His private records of Bhajans are available. The Lyricist is Bharat Vyas. The music Director was Manna Dey.

Manna Dey’s Biography is available at many places on the Internet and anyone can read it easily. So, I am not giving his Biodata, but here is a different look at him from another angle.

Manna Dey ( 1-5-1919 to 24-10-2013 ) was essentially a singer, but initially he wanted to become a Composer. So, by becoming assistant first to his uncle K.C.Dey and later to Khemchand Prakash, he managed to give music to 17 films, composing 129 songs in these films, in his career. None of his composed songs became a Hit or very popular.

In contrast, he sang in 839 Hindi films and sang 1370 songs ! This output clearly proves that he was a successful singer. The problem with many singers is that they want to become Music Directors or act in the films or do both or all three ( Like Mukesh), but they do not possess that mindset.

A Composer is a Planner and a singer is an implementer. You can either be this or that. In any case an implementer rarely has the Talent of a planner. Singers like Mukesh, Talat, S D Batish, Khan mastana and few others never became famous or popular or successful Composers or actors. Singers like Talat realised this too late and spoiled his singing career too.

When Manna Dey was interviewed by Chandan Mitra for The Pioneer, on 25-10-2013, he asked him this question….

“Many people say you are the film world’s most under-rated and under-recognised singers despite being so phenomenally talented. Does this bother you ?”

Manna Dey – “It used to. I would be very hurt at being overlooked when it came to singing for the hero. Some music directors, such as Naushad saab, never used me, always relying on Rafi for the male voice. As a result, I never sang for Dilip Kumar. In my days of struggle, some producers were positively indecent. I will tell you two incidents to explain what I have undergone and how God has been on my side.

Bharat Bhushan was a big hero in the 1950s, especially after his Baiju Bawra became a major hit. His brother Shashi Bhushan decided to produce Basant Bahar and hired Shankar-Jaikishan to score the music. Shankar was my mentor in the film world and always pushed my case especially if the tunes were classical-based or very fast. They had composed Sur Na Saje, a really beautiful number. Rehearsals were complete and we were about to record when Shashi Bhushan heard I was to sing it. He said, ‘Nothing doing, get Rafi.’ Shankar argued but the producer would not listen. I was feeling very humiliated when Bharat Bhushan walked in. He heard the debate and finally said, ‘let Manna sing now. We will see what to do later.’ As you know, the song became a very big hit. At stage shows, I am requested to sing it even now.

Another time, we were about to record Yeh Raat Bheegi Bheegi for the Raj Kapoor Nargis starrer, Chori Chori. It was a South Indian production by AVM, which was owned by Chettiar. He had just flown into Mumbai that day and drove straight to the studio to attend the recording. As he entered, he yelled, ‘I don’t see Mukesh. Where is Mukesh ji’ Shankar told him, ‘You don’t see Mukesh because Manna Dey is singing this number.’ Chettiar was very angry. ‘Cancel the recording,’ he ordered, turned to me and said, ‘You go home.’ At that point Raj saab really got annoyed. He told Chettiar, ‘Manna and Manna alone will sing this number whether you like it or not.’ Few people dared to talk to a big producer like that, but then, few producers had the guts to disobey Raj Kapoor. Reluctantly, Chettiar had to allow the recording to proceed. When I finished, the same Chettiar (he was quite fat) grabbed me and wouldn’t release me from his hug!

But you are right. I never got what I fully deserved. You see, I was born into a very proud family. We had no ego but we were proud of our talent. So, I couldn’t do the rounds of producers and music directors’ homes, get into Mumbai’s sharabi-kababi culture, or sit in the durbars of big heroes. Most struggling singers have to do that even now. I was a struggling singer in my early years in Mumbai and, thereafter, when I did gain acceptance, I got somewhat typecast. Only a few music directors would experiment with me as the hero’s voice. But I don’t hold a grudge on anybody or anything. I have sung my heart out, I have got people’s love in return, I love to sing even now; I have led a contented life. What more can a person ask for ? I am very happy the way I am.”

Let us now listen to this Bhajan by Gopal Mishra ji.


Song-Jai jai jai Tripurari (Jai Mahadev)(1955) Singer-Gopal Mishra, Lyricist- Bharat Vyas, MD- Manna Dey

Lyrics

jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai trilochan (?)
jai dukhmochan
jai hey mangalkaari
jai jai jai Tripurari
jai jai jai Tripurari

mukhti saddaayak charan kamal mein
sheesh jata mein shobhit gange
mukhti daayak charan kamal mein
sheesh jata mein shobhit gange
ang bhabhoot ramaaye bhole
jai kailaash bihaari
jai jai jai Tripurari
jai jai jai Tripurari

gale rund ki maal
kati mein mrig khaal
bhasm taj saaje
?? chandr bhaal
dinak din
?? damroo baaje
?? hey
jai jagvandan hey
jai trishool kar dhaari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari


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 :

4757 Post No. : 16499

“Jai Santoshi Maa”(1975) was one of two movies that were released on 15 August 1975. “Sholay”(movie 1975) was the other movie. In the earlier weeks, “Sholay”(1975) was receiving lukewarm response from audience, and their makers were very nervous. After a few days of anxiety, the crowd suddenly began to rust into the movie halls screening “Sholay”(1975), much to the relief of their makers.

On the other hand, “Jai Santoshi Maa”(1975) began to attract house full audiences from the very first day. Unlike Sholay(1975) it was a low budget movie and it began to show profits as soon as it became clear that the movie would not be taken off after one week but would go on and on. There were many places where this movie ran longer than Sholay. In Ranchi, Sholay ran for 14 weeks whereas Jai Santoshi Ma ran far longer.

The music of “Jai Santoshi Maa”(1975) became very popular. By now the songs of this movie have become a part of many Indian househlds. This movie is the highlight in the careers of Usha Mangeshkar (as a playback singer) and C Arjun (as a music director). Kavi Pradeep, a lyricist extraordinaire of religious and patriotic songs, got to pen the kind of lyrics he so enjoyed.

“Jai Santoshi Maa”(1975) had six songs, including one multiple version song. All songs have gone on to become all time hit songs.

The blog has five of them. Here are the details:-

Song Date of posting (Post number) Remarks
Main to aarti utaaroon re Santoshi maata ki 18 August 2013 (8551)
Yahaan wahaan jahaan tahaan mat poochho kahaan kahaan 11 December 2017 (13802) Multiple version song- Two versions
Karti hoon tumhaara vrat main sweekaar karo maa 11 December 2020 (16089)
Madad karo Santoshi maata 28 May 2021 (16388)

Only one song is left to be covered. Here is that final song. This song is sung by Manna Dey. This is a song of “Hausla afzaai” for Kanan Kaushal, who falls into hard days (as is customary in a a devotional movie. 🙂 )

Kavi Pradeep is the lyricist. Music is cpmposed by C Arjun.

Lyrics of this song were sent to me by Avinash Scrapwala.

With this song, all the six songs of “Jai Santoshi Maa”(1975) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.

This song is the 200th song of Kavi Pradeep in the blog as a lyricist.

Video

Audio

Song-Mat ro mat ro aaj Raadhike (Jai Santoshi Maa)(1975) Singer-Manna Dey, Lyrics-Kavi Pradeep, MD-C Arjun

Lyrics (Provided by Avinash Scrapwala)

mat ro o o o
mat ro o o o
mat ro o o

mat ro mat ro aaj raadhike
sun le baat hamaari ee
tu sun le baat hamaari
jo dukh se ghabraa jaaye
wo nahin hind ki naari
wo nahin hind ki naari
mat ro o
mat ro o
mat ro o o

bharat ki naari ki aankhen
sab aankhon se nyaari ee
sab aankhon se nyaari
uske har aansoo mein jhalakti
pyaar ki ik phulwaari ee
pyaar ki ik phulwaari
aasha ki dor se baandh le beti
ee ee ee
jeewan ki laachaari
jo dukh se
jo dukh se ghabraa jaaye
wo nahin hind ki naari
wo nahin hind ki naari
mat ro o
mat ro o
mat ro o o

apne man mein diyaa jalaa ke
kar le ujaala gori ee
kar le ujaala gori ee
dil ke upar patthar rakh le
ronaa hai kamzori ee
ronaa hai kamzori
chupke chupke dukh sehne ki
ee ee ee
tu kar le tayyaari ee
jo dukh se
jo dukh se ghabraa jaaye
wo nahin hind ki naari
wo nahin hind ki naari
mat ro o
mat ro o
mat ro o o

kiska chalaa hai zor bhaagya par
rakh tu hari pe bharosaa aa
rakh tu hari pe bharosaa
har jeewan thaali mein prabhu ne
dukh bhi yahaan hai parosaa aa
dukh bhi yahaan hai parosaa
pataa nahin kis bhes mein daata aa
kar de madad tumhaari ee
jo dukh se
jo dukh se ghabraa jaaye
wo nahin hind ki naari
wo nahin hind ki naari
mat ro o
mat ro o
mat ro o o
mat ro mat ro aaj raadhike
ae ae ae


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4719 Post No. : 16427

When film making started in India, most films-i.e. about 98 %, were based on Religious Mythological or Folk stories. Even in that early era, there were Producers and Directors, who dared to make films on unusual but interesting subjects like Fictional kingdoms, highly scientific discoveries etc. Worth mentioning are a few films like Prabhat’s ‘ Wahan alias Beyond the Horizon’-1937, Prakash pictures’ ‘Mr. X’-38, Ranjit’s ‘ Prof. Waman M.Sc.’, Sagar’s ‘ 300 days and after’-38, Adarsha Chitra, Calcutta’s ‘ India in Africa’-1939 (first film to do shooting outside India, in foreign countries), Sagar’s ‘ Mahageet ‘-37 and the best film by Prakash Pictures-” Khwaab ki duniya’-1937. ( there may be some more such films too).

Not all such offbeat films succeeded, but surely they provided a Ray of Hope that Indian cinema will surely come out of this beaten track and grandma stories. I am not very sure, but I have a strong feeling that during the early films of the 40s, a few C grade action and stunt films too were made on such offbeat themes. One such film is Master Bhagwan’s ” Bhedi Bungala alias House of Mystery “-1949, India’s first Horror film. ( during the shooting, in one scene Bhagwan had to keep his eyes wide open-as if in fear. He stretched them so much and for such a long time that for one day he lost sight of both eyes. After the doctor’s treatment he regained his vision. Can we expect such dedication in today’s actors, in general ?).

For lack of proper documentation, we are unable to comment on such films of yore. As far back as 1936, Prabhat film company had made a film on Mutiny on the sea by a brave woman- Amar Jyoti-1936, featuring a new heroine- Durga Khote. Life on ships and sword fighting by a woman was mesmerising the audience.

The celestial entities have always enticed the Human Race. They were effectively used in sciences like Astrology and Astronomy. Since time immemorial Man always wanted to visit these planets sans The Sun. Moon was the centre of attraction. Could the Hindi filmmakers keep off from making a film on this theme ? Most kept off ! They , perhaps, thought it safe to use The Moon (चांद ) only in songs and dialogues. However, going through the list of film titles, I found that films using the word Chand in the titles were made, but barring a few C grade stunt and action films, this ‘ Chand ‘ was alluding to something else like the Lover, beloved and other similar things.

Film titled only Chaand were made in -1934,1944 and 1959. Then there were 13 films having ‘ Chand ‘ in their titles. As far as I gather, there were only 2 films made on fictional stories involving the Planet Moon. One was Chand ki Duniya-1959 and the other was Chand pe Chadhai (Trip to the Moon)-1967.

Today’s song is from film Chaand ki duniya-59. It is quite a long song….7.41 minutes to be exact. the video reveals that the song is filmed on the Hero Soham Kapila, the heroine Nalini Chonkar and the comedian Ram Avtar. If you remember, he had a hilarious role in film Teesri manzil-1966 as a co-passenger of Shammi Kapoor.

Ram Avtar Pandey, from Rampur-UP, started his filmi career in 1938 with character roles. In the early 50s, he switched to comedy, when he gained weight and a pot belly. Ram Avtar was a fixture in many Nasir Hussain films. His roles in Badi Behan-49,Nagin-54, Hum sub chor hain-56, Tumsa nahin dekha-57, Jab pyar kisi se hota hai-61, Phir vohi dil laya hoon-63, Teesri Manzil-67, Yaadon ki Baraat etc are memorable. His last film was Prem Geet-1981. He acted in 133 Hindi films.

The film was made by Filmistan, a big banner. Unfortunately, it was made as a quicky, without much interest. The film was directed by Mohan Sinha (grandfather of actress Vidya Sinha, of Rajnigandha-74 fame). The MD was Nirmal Kumar alias S.D.Batish.

Many composers gave music to C grade films using Pseudonyms. For example, C. Ramchandra gave music to action films in the name of ” Annasaheb”, S D Batish used the name Nirmal Kumar, Durrani used Gunjan as his name, to quote a few examples. But one name hardly anyone knows and that is Anil Biswas. Yes, when he gave music to film Begunah-1949, he used the name as Haribhai. His co-MD was Shyamu- which was C. Ramchandra ! This information is given in The Encyclopedia of Indian Cinema by Rajadhyaksha.

The cast of the film was Sohan Kapila, Nalini Chonkar, Ram Avtar, P. Kailash, Badri Prasad, Husn Bano, Indira Bansal, B M Vyas, Vijay Kumar, Noor (wife of Johnny Walker) etc etc. the banner was good, story was fine, songs were good, MD was good, Heroine and Director were good. The whole problem was with the dumb Hero- Sohan Kapila. he was one actor who was a Non Actor.

It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi, who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons,daughters,brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anup kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti ganguly, Radhika and many more. In spite of having all the backing of the famous family members, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen, but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar ,which was released in 1960. Hemen Gupta , distinguished director, who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan.

Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar. But the movie flopped, as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued film career, but could not achieve much success .

There were many other actors like him, who got chances to appearopposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them again. Out of sight is out of mind, it was a matter of time when public as well as film industry forgot them.

Malhaar, as the name suggests, a musical film produced by great singer Mukesh in 1951. It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan. The movie had newcomers Arjun & Shammi (Nargis Rabaadi ). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career.

Rattan Chopra the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when Aman flopped. He took the newcomer for Mom Ki Gudia, opposite Tanuja, with great hopes. Unfortunately, Mom Ki Gudia failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur . Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder ,which was his last contribution towards film industry .Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970),which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting. The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navinchandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more.

With all this no wonder the film was a flop and a good story was wasted. Today’s song is the 4th song of this film on the Blog. But the song is good. Enjoy….

(some information is used from an article by M N Sardana ji in Voh din yaad karo. Thanks to him)


Song- Lee haay lee haay lippip pippi…aayee jawaani badi deewaani (Chaand Ki Duniya)(1959) Singers-Manna Dey, Asha Bhonsle, Unknown male voice, Lyricist- Qamar Jalalabadi, MD- Nirmal Kumar aka S D Batish
Manna Dey + Asha Bhonsle
All chorus
Female chorus
Male chorus

Lyrics

hahahahahaha

li haay li haayi lippip pippi
li hayi li hayi lippip pippi
li hayi hayi lippi pippi pi

aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa paa

o ho ho
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi pi

aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa pa

o ho hoho

ye pappa pappi chhodo
chhodo ye haali holi
kuchh bolo humaari boli

tumhaari boli
haan humaari boli
aayi jawaani badi deewaani
dekho kya kya laayi jawaani

aaha
hans le gaa le maauj mana le
jaa ke phir na aaye jawaani

waah waah
aayi jawaani badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le

mauj mana le
jaa ke phir na aaye jawaani waah waah

arre laaga laaga laaga
teri ankhiyon ka dil pe nishaana
jaaga jaaga jaaga
tere pyaar ka sapna suhaana

o o o o
laaga laaga laaga
teri ankhiyon ka dil pe nishaana

jaaga jaaga jaaga
tere pyaar ka sapna suhaana

sapna suhaana
o ho
aaha
baanki chaal ada mastaani
dekho kya kya laayi jawaani
aaha

dil ko milale dhoom machaale
jake phir na aaye jawaani waah waah

aa aa aa aa aaaa aa aa aaaa
aa aa aa aa aa

aa aa aa aa aa aa aa aa aa aa
aa aa aa aa aa

ye sama ye khushi jhoom uthhi zindagi
dil ke gulzar mein phool sa aa khil gaya
dil ke ye raaste jagmagaane lage
muskuraane lage jaane kya aa aa mil gaya
baat baat mein bani kahaani
dekho kya kya laayi jawaani aaha
dil ko milaale dhoom machaale
jake phir na aaye jawaani waah waah

aayi jawaani
badi diwaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani waah waah

o tere bin mora jiya laage na
o tere bin mora jiya laage na
o tere bin mora
o more bin tora
o dekho dekho dekho
jiya la la la la la laage na
tera roop ghazab ka jaani
dekho kya kya laayi jawaani aaha

dil ko milale dhoom machale
jake phir na aaye jawaani waah waah

aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani, waah waah

haay maara maara maara
tere teekhe teekhe nakhron ne maara
dekho dekho behke kadam
zara dena ji sahaara

ho ho ho ho
maara maara maara
tere teekhe teekhe nakhron ne maara

dekho dekho bahke kadam zara dena ji sahaara
dena ji sahaara
o ho
aaha
mausam pyaara raat suhaani
dekho kya kya laayi jawaani aaha

dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah

arre dhokha dhokha dhokhaa nahin khaana
yehi mauka hai shikaari
jeete jeete jeete khel khel mein jo
wohi hai khilaadi
haan wohi hai khilaadi
o ho
aa haa

samjho dil ki baat suhaani
dekho kya kya laayi jawaani aa haa
dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah

aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj manaa le
jaake phir na aaye jawaani waah waah

ab gaao pappa pappi
ab gaao halli huli
kuchh samjho hamaari boli

tumhaari boli
haan
hamaari boli

laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waada pakka
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa

bilkul sachcha
samajhne waale samajh gaye
jo naa samjhe wo kakka

laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waah

li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi

hoy laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa paa

li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi

hahahahahaha
hahahahaha


This article is written by Peevesie’s mom, 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 :

4702 Post No. : 16405

Hullo Atuldom

2nd June 1988. 33 years ago, Raj Kapoor who was also called the greatest Showman, bid adieu to this mortal world.

He was first an actor who turned a filmmaker early in his career. It is said that he had done roles as a child actor in the late ’30s, but his first adult role happened in 1947 in ‘Neel Kamal’ with Madubala as his heroine. Within a year he turned a producer-director, set up the RK Banner and came up with “Aag” and went on to produce and direct nine more movies – the last of which was “Ram Teri Ganga Maili”. Additionally he produced ‘Biwi-o-biwi’, ‘Dharam Karam’, ‘Kal Aaj Aur Kal’, ‘Jis Desh Mein Ganga Behti Hain’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’, Boot Polish’, ‘Aah’ i.e. the total output of RK banner during Raj Kapoor’s lifetime was 18. His sons Randhir- Rishi- Rajeev tried to keep the legacy of the banner alive and made a few more movies.

Of the movies that RK Banner produced in the ’70s two were directed by Randhir Kapoor viz. ‘Kal Aaj Aur Kal’ and ‘Dharam Karam’.

“Kal Aaj Aur Kal” had a lot of interesting aspects associated with it. (1) It was the acting and direction debut of Randhir Kapoor. (2)It had three generations of the family :- grandfather Prithviraj Kapoor, father Raj Kapoor and Randhir kapoor. (3) It marked the last acting assignment of Prithviraj Kapoor and I have read somewhere that he dubbed for the movie almost from his death-bed. (3) The movie starred Raj Kapoor’s future daughter-in-law Babita. (4) This was the last RK movie for which Shankar- Jaikishan gave music. Apparently Jaikishan had completed recording the music for this movie before he passed away.

Mehmood gave a tribute to the RK family in a song from “Humjoli” (1970) when he played the grandfather, father and (modern) son.

KAAK had six songs of which the blog has four songs. Today’s song shows Raj Kapoor as the father of a stubborn young son and son of stubborn old father. He is torn between his love for his father and son. He does not want to take sides in the tug-of-war of the two generations and both father and son have asked him to choose who is more important. We have Raj Kapoor expressing all his emotions through his beautiful light-eyes (remember the reference to those eyes in the song “masti bhara hain sama”.)

The song is written by Neeraj and sung by Manna Dey.

Audio

Video

Song-Dekhiye to kya ajeeb haal hai (Kal Aaj aul Kal)(1971) Singer-Manna Dey, Lyrics-Neeraj, MD-Shankar Jaikishan

Lyrics

dekhiye toh kya ajeeb haal hai
sochiye toh kya ajeeb baat hai ae ae
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai

ek daal iss tarah phooli phali
ek ek paat phool ban gaya
ek daal iss tarah phooli phali
ek ek paat phool ban gaya
ek daal iss qadar magar luti
ek ek phool dhool ban gaya
aaj aur kal ki dhoop chhaanv mein aen
iss liye samay ke soone gaanv mein
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai

ek hawa chali ke khil uthha chaman
ek hawa chali ke sab ujad gaya
ek kadam uthaa ke raah mil gayi
ek kadam uthaa ke path bichhad gaya
ek hawa chali ke khil uthha chaman
ek hawa chali ke sab ujad gaya
ek kadam uthaa ke raah mil gayi
ek kadam uthaa ke path bichhad gaya
iss liye dilon ki jeet haar mein aen
iss liye kisi ke preet pyaar mein aen
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye toh kya ajeeb haal hai ae
sochiye toh kya ajeeb baat hai ae ae
ek paanv chal raha alag alag
doosra kisi ke saath saath hai ae ae
dekhiye to kya ajeeb haal hai
hmm hmm h hmm hmm
aa aa aa aa aa


This article is written by Avinash Scrapwala, 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 :

4673 Post No. : 16349 Movie Count :

4440

#The Decade of Seventies – 1971 – 1980 #
———————————————————–———-
# Bhoole-Bisre Geet # 138 # Missing Films -1971- 05 #
———————————————–

I have mentioned in my earlier posts that this year ‘2021’ is special for the movies released in the year ‘1971’ as they will complete their ‘fifty years’ of release simultaneously, as this year ‘2021’ progresses.

The year ‘1971’ saw one hundred and fifteen movies released in that year. We are going to see the total list in future posts on the blog. Today we will see the list of movies released between Jan to April(From01.01.1971 to 30.04.1971).

Here is the list: ‘1971’ movies (in alphabetical order) released between 01.01.1971 to 30.04.1971…

SNO Movie Title Director Passed by Censor Board Song Status on the blog
1 Aag Aur Daagh A. Salam 20.01.1971 3/6 Songs posted
2 Adhikaar S.M. Sagar 28.04.1971 Yippeeee’ed
3 Andaz Ramesh Sippy 23.04.1971 Yippeeee’ed
4 Chandan Kewal Mishra 23.03.1971 2/5 Songs posted
5 Ek Paheli Naresh Kumar 16.01.1971 4/6 Songs posted
6 Elaan K. Ramanlal 30.04.1971 Yippeeee’ed
7 Gambler Amarjeet 16.02.1971 Yippeeee’ed
8 Gehraa Raaz Niranjan 01.02.1971 Yippeeee’ed
9 Haseenon Ka Devataa Ravi Nagaich 18.02.1971 1 song posted
10 Jal Bin Machhali Nritya Bin Bijalee V. Shantaram 11.01.1971 6 of 8 Songs posted
11 Johar Mehmood In Hongkong S.A. Akbar 04.01.1971 4 of 6 Songs posted
12 Kaalaa Parvat M. Sathyu 24.03.1971 No songs/Not mentioned
13 Kahin Aar Kahin Paar Maruti 23.01.1971 2 of 6 Songs posted
14 Laakhon Mein Ek S.S. Balan 24.03.1971 4 of 6 Songs posted
15 Lagan Ramanna 17.03.1971 2 of 6 Songs posted
16 Maataa Vaishno Devi Satish Kumar 16.04.1971 Making its DEBUT Today
17 Main Sundar Hoon Krishnan Panju 18.03.1971 Yippeeee’ed
18 Mehboob Ki Mehandi H.S. Rawail 30.01.1971 Yippeeee’ed
19 Melaa Prakash Mehra 04.03.1971 Yippeeee’ed
20 Nayaa Zamaanaa Pramod Chakravarty 23.03.1971 Yippeeee’ed
21 Paaras C.P. Dixit 08.04.1971 Yippeeee’ed
22 Parde Ke Peechhey K. Shankar 16.03.1971 2 of 6 Songs posted
23 Pyaar Ki Kahaani Ravi Nagaich 20.04.1971 Yippeeee’ed
24 Raamu Ustaad Mohammad Hussain 16.02.1971 1 of 4 Songs posted
25 Reshamaa Aur Sheraa Sunil Dutt 26.04.1971 Yippeeee’ed
26 Sher- E- Vatan Harbans 06.01.1971 1 of 4 Songs posted
27 Ummeed Nitin Bose 27.04.1971 Yippeeee’ed
28 Upaasanaa Mohan 15.03.1971 Yippeeee’ed
29 Veer Chhatrasaal Harsukh Bhatt 22.03.1971 1 of 5 Songs posted

From the above list we can see that all movies for the ‘Jan-April 1971’ period have been represented on the blog except one movie i.e., ‘Maataa Vaishno Devi’.

Today we are introducing this movie on the blog.

“Maataa Vaishno Devi-1971’ a mythological movie was directed by Satish Kumar for ‘Lokmanch Pvt Ltd, Bombay’. It had Jayshree Gadkar, Abhi Bhattacharya, B.M. Vyas, Anant Kumar, Mohan Choti, Tun Tun, Jeevan, Niranjan Sharma, Pal Sharma, Jayshree T., Madhumati, Shefali, Meenakshi, Saroj Naik, Baby Mala, Bhagwan Sinha, Radheshyam, Ramlal, Moolchand, Vishwas, Vijay Mohan and others.

This movie was passed by Censor Board on 16.04.1971.

This movie had six songs written by B.D. Mishra and composed to music by Dilip Ray.
Here are the details of these six songs.

S.No. Song Title Singer/s
01 Jai Vaishno maataa, Prem se bolo jai maataa ki Mahendra Kapoor, chorus
02 Chaand ne aisa jaadu daala ki hoke matwaalaa Asha Bhonsle, Usha Khanna
03 Man ke korey kaagaz pe tasveer kheench lo Ram ki Manna Dey
04 O naadaan meri maan, tu naa chhed mujhe Asha Bhonsle
05 Man ke korey kaagaz pe tasveer kheench lo Raam ki Asha Bhonsle
06 Raavan phoonko dhoomdhaam se, vijay Raam ne paayi re bhaiyya Mahendra Kapoor, chorus

Today’s song is a multiple version song. Male version is sung by Manna Dey and it is lip synced on screen by Jeevan. The female version is sung by Asha Bhonsle (and chorus) and it is lip-synced on screen by Jayshree Gadkar.

Let us now listen to this beautiful bhajan. With today’s song ‘Maataa Vaishno Devi-1971’ makes its debut on the blog.

Manna Dey version

Asha Bhonsle version

Song-Man ke korey kaaghaz pe tasveer kheench lo Raam ki(Maata Vaishno Devi)(1971) Singer-Manna Dey/ Asha Bhonsle, Lyrics-B D Mishra, MD-Dilip Ray
Chorus

Lyrics

—————————-
(Manna Dey version)
—————————

shri raam
raam raam
shri raam

man ke korey
kaaghaz pe ae
tasveer kheench lo
raam ki ee
man ke korey
kaaghaz pe ae
tasveer kheench lo
raam ki
kankar se shankar tak gaaye
mahimaa jinke naam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki ee

sooraj jaisa tej hai mukh pe
aur chandaa ka salonaapan
sooraj jaisa tej hai mukh pe
aur chandaa ka salonaapan
kesh hain kaale meghon jaise
mastak jaise neelgagan
nain kamal bhauhen kamaan si ee ee
nain kamal bhauhen kamaan si
honthhon mein chhavi muskaan ki ee
man ke korey
kaaghaz pe tasveer kheench lo
raam ki ee

parvat saa hai vaksh raam ka
bal agaadh hai baahon mein
parvat saa hai vaksh raam ka
bal agaadh hai baahon mein
har teerath har devaalaya hai
inke charan ki chhaaon mein
rang saanwlaa khiley ang pe
ae ae ae
rang saanwlaa khiley ang pe
shobha jaise shaam ki
man ke korey kaaghaz pe
tasveer kheench lo
raam ki ee

maathe tilak
kaan mein kundal
sheesh mukut man ko mohe
maathe tilak
kaan mein kundal
sheesh mukut man ko mohe
gal vaijayanti maal viraaje
peetambar tan pe sohe
dhoom machi hai
teen lok mein
ae ae ae ae
dhoom machi hai
teen lok mein
do akshar ke naam ki ee
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki ee
kankar se shankar tak gaaye
mahimaa jin ke naam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki ee

—————————
(Asha Bhonsle version)
—————————

shri raam
shri ee raam
shri ee raam

man ke korey
kaaghaz pe
tasveer kheench lo
raam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki
kankar se shankar tak gaaye
mahimaa jin ke naam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki ee

dharti ban ke bichhey hain wo hi
ambar ban ke chhaaye hain aen aen
dharti ban ke bichhey hain wo hi
ambar ban ke chhaaye hain
jal ban kar behten hain wo hi
agin pawan mein samaaye hain
ye sundar sansaar hai jhaanki ee
ee ee
ye sundar sansaar hai jhaanki
raam prabhu chhavi dhaam ki
man ke korey
kaagaz pe
tasveer kheench lo
raam ki ee

wo hi sakhaa
wo hi swaami hain
sab ke wo hi pitaa maataa
wo hi sakhaa
wo hi swaami hain
sab ke wo hi pitaa maataa
saare rishte naate jhoothhe
sachchaa unka hi naataa
raam ka jo ho jaaye usey kya
aa aa aa aa aa
raam ka jo ho jaaye usey kya
chinta hai dhan dhaam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki ee

poojan sumiran
bhajan bhakti hai
prabhu ke paane ki raahen aen aen
poojan sumiran
bhajan bhakti hai
prabhu ke paane ki raahen
kewal prem se raam reejhhte
dhan daulat kachhu naa chaahen
le lo mol tum preet raam ki
ee ee ee ee ee
le lo mol tum preet raam ki
bikti hai bin daam ki
man ke korey
kaaghaz pe
tasveer kheench lo
raam ki
kankar se shankar tak gaaye
mahimaa jin ke naam ki
man ke korey
kaagaz pe
tasveer kheench lo
raam ki ee
man ke korey
kaaghaz pe ae ae
tasveer kheench lo
raam ki ee
man ke korey
kaaghaz pe ae ae
tasveer kheench lo
raam ki ee


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 :

4670 Post No. : 16346

“Girls’ School”(1949) was written and directed by Amiya Chakraborty for Lokmanya Productions, Bombay. Lokmanya Productions was a joint venture of Kavi Pradeep and Amiya Chakraborty. This movie had Geeta Bali, Sohan, Mangala, Krishna, Sajjan, Ram Singh, Shashikala, Vimala Vashisht etc in it.

The movie had nine songs in it. Anil Biswas was signed up as the music director. But he walked out of the movie when he found Kavi Pradeep the co producer interfering in his work. So C Ramchandra composed music for the remaining songs.

Six songs from “Girls’ School”(1949) have been covered in the past. The movie incidentally had little to do with the education of girls despite its fancy title. And the movie duly flopped. So the songs of the movie are better enjoyed as standalone songs, rather than as part of this movie.

Today (1 may 2021) is the birth anniversary of Manna Dey (1 may 1919-24 october 2013). On this occasion, here is a song from “Girls’ School”(1949). The song is sung by Manna Dey and Shamshad Begam. Kavi Pradeep is the lyricist. Music is composed by Anil Biswas.

Anil Biswas is mentioned as the music director of this song, but I suspect that this song could have been composed by C Ramchandra, seeing that C Ramchandra used the voices of Shamshad Begam and Lalita Deulkar as female voices in other songs composed for the movie, mainly because Lata Mangeshkar, the first choice for female playback singer, who had recorded three songs with Anil Biswas for the movie, refused to record more songs, when she came to know about the unceremonious ouster of Anil Biswas from this movie. However, I have gone with Anil Biswas as the music director here as mentioned in HFGK.

Today is also International labour day. The lyrics of the song sound appropriate for tat occasion as well.

Lyrics of this song were sent to me by Prakashchandra.

audio link:

Song-Phoolon ka sapna dekhne waalon (Girls School)(1949) Singers-Manna Dey, Shamshad Begam, Lyrics-Kavi Pradeep, MD-Anil Biswas
Both

Lyrics(Provided by Prakashchandra)

phoolon ka sapnaa aa aa
dekhne waalon o o o
kaanton ..on ..on pe chalnaaa aa
seekh lo o
ae jee o o o
o jee o o o

haayye rey phoolon ka sapna
dekhne waalon o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna
dekhne waalon o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
apne haathon se apni qismat
apne haathon apni qismat
khud badalnaa seekh lo o o
khud badalna seekh lo
haayye rey phoolon ka sapna dekhne waalon o o o

badey atpatey jagat ke rastey ae
o o o
o jee oo

chaley ae ae chalo rey bhai
rotey hanstey
o o o o o o o
o jee oo ooo

yahaan bhool bhulaiyyaa kaheen kaheen
hai taal-talaiyyaa kaheen kaheen
dhokey ka jaal hai har taraf

dhokey ka jaal hai har taraf
zara bachke nikalnaa seekh lo
ae jee bachke nikalna seekh lo
haayye rey phoolon ka sapna dekhne waalon o o
kaanton pe chalnaa seekh lo o
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna dekhne waalon o o o

mat aaney do aankh mein paani ee
oo jee oo
kamzori ki hai ye nishaani..eee
oo jee oo
baadal ki kadak se mat daro
bijli ki tadak se mat daro
baadal ki kadak se mat daro o o o o oo

tum toofaanon ke beech bhi
be-dhadak tehalnaa seekh lo o o o
be-dhadak tehalnaa aa seekh lo o o
thokar pe thokar lagey
thokar pe thokar lagey
magar tum phir bhi sambhlnaa seekh lo
ae jee phir bhi sambhalnaa seekh lo
haayye rey phoolon ka sapna dekhne waalon o o o
kaanton pe chalnaa seekh lo
kaanton pe chalna
seekh lo o o
haayye rey phoolon ka sapna dekhne waalon o o


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 :

4652 Post No. : 16318 Movie Count :

4431

The song under discussion is from “Sampoorna Devi Darshan”(1971). “Sampoorna Devi Darshan”(1971) was produced by S J Rajdev and directed by Shantilal Soni for ‘Sargam Chitra, Bombay’. The movie had Sushma, Ashish Kumar, B.M. Vyas, Padma Rani, Shabana, Uma Dutt, Azad, Shery Mohan, Arvind Pandya, Johny Whisky, Dilip Dutt, Shri Bhagwan, Bhagwan Sinha, Maya, Shobha, Suman, Prem Lata, Daya Devi, Rajeshwari Rao, Haroon, Prince Arjun, Kiran Kumar, Dalpat Bhai etc in it.

Screenplay and dialogues of this movie were written by R. Priyadarashi. Editing of this movie was done by I.M. Kunnu. Lyrics of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.

Lyrics of the song as well as details of the movie were sent to me by Avinash Scrapwala, with the request that- “Kindly introduce the movie with your writeup please, as I am not good when it comes to writing about mythology. Please.

While making the above request, he assumed that I can write about mythology. In reality, I know even less about this topic. Whatever litle I knew about this topic was from my voracious reading of children’s magazines like Chandamama, and also reading of Geeta Press Gorakhpur religious publications during my younger days. I have already forgotten most of that.

I in fact, learnt something new from the email of Avinash Scrapwala. I realised that there is a Navratri during Durga puja of october November and also another navratri in the summer season. The summer season navratri is called Chaitra navratri and it marks the beginning of the Hindu calendar year.

Today marks the beginning of Hindu calendar year Samvat 2078. This is Vikram Samvat (Vikram calendar), which, we can see is 57 years ahead of Gregorian calendar (the one that is commonly followed by most people). However India adopted Shak Samwat (Shak Calendar) as Indian calendar which has the same months as Vikram calendar but it started in 78 AD, unlike Vikram Samwat which started in 57 BC. Official Shak calendar is tied to the Gregorian calendar. It begins on 22 march, and on Gregorian leap year it begins on 21 march.

Chaitra is the first month of Hindu Vikram Samvat calendar year. This year this day falls on 13 April. Chaitra navratri begins from this day. This time it is from 13 april to 22 april.

Like during the october-november Navratri, the chaitra navratri too is observed by praying to different avatars of Goddess Durga during the nine days of the festival. These avataras, that are worshipped on the nine days are:-from day one to day nine-Maa Shailputri, Maa Brahmcharini, Maa Chandraghanta,Maa Kushmaanda,Skandmata, Maa Katyayani, Maa Kaalraatri, Maa Mahagauri and Maa Sidhhidaatri.

The festival marks the beginning of the spring season and it ends with Ram Navami or the birthday of Lord Rama.

This new year day is celebrated in different parts of the country by different names viz. Gudi Padwa (Maharashra, MP,Chattisgarh), Ugadi (Andhra Pradesh, Karnataka), Puthandu (Tamilnadu), Vishu (Kerala), Bihu (Assam), Poila Baisaakh (Bangal), Baisaakhi (Punjab) etc.

Just imagine for a second. All these regions of India, located far far away from each other, have been celebrating their new year on this same day for many centuries! It means that all these diverse places, separated by vast distances have been culturally integrated for many many centuries ago ! How else do you explain the fact that all these regions celebrate their new years on the same day ! I notice that I have stayed in almost all the above mentioned regions of India and I have observed this new year celebrated in almost all its different forms. 🙂

Religious minded people use this occasion for pooja, archana, aradhana etc, whereas cultural minded people celebrate it through songs and dances. Vigorous Punjabi dance on this occasion is well known to most people. Personally I am a big fan of Bihu dance that I saw getting performed on this occasion, during my stay in Assam two decades ago. These festivals also have much to offer to those who look forward to sweets and pakwaans. 🙂

As per HFGK Vol-V (1971-1980) this movie had six songs (including one five-part song). All the songs of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.

The list of the songs given in HFGK is as follows;

SNo Song Title Singer/s
01 Jai devi maata, jai nau durgaa maata Manna Dey, Chandrani Mukherji, chorus
02 Sansaar ki kaisi reet hai …sachchaayi roye duniya mein Asha Bhonsle
03 O raaja aa jaa na mere paas Asha Bhonsle
04 Aao suhaag ki raat manaa le… tumhaare sang jeenaa thha Asha Bhonsle
05 (a) Nij janm bhoomi dharti maa ko naman-part-1
(b) Hari bhari brajbhoomi seenchti sadaa
(c) Kaam krodh mad lobh moh kitnaa hi zor lagaaye
(d) Paap taap santaap jhoothh ki ek na chalegi
(e) Teerath teerath mandir mandir jo ghoome din raat
Manna Dey, Chandrani Mukherjee, chorus
06 Maa Paava gadh thhi ootaryaa mahaakaali re (garbaa)

When I first looked at the name of the movie and the lyrics of the song, and looked at the request of Avinash scrapwala regarding this being a song for the occasion, my first impression was, how can it be. It is a song fit for Durga puja. Then, on doing some research, that I have presented above, I found out that there is something known as Chaitra Navratri and that it is a festival like the Navratri of Dashara, and that this song is actually tailormade for the occasion. Now I have realised that the world “Nav Durga” that we often come across is not “nav Durga” but “nau Durga” viz. “nine Durga”, and it refers to the nine forms of Durga.

The song plays in the background at the credits appear on the screen. The lyrics of this song mentions all the nine forms of Durga.

This shows that the makers of movies like this were very well versed with Indian mythology and they could make movies on such topics. The lyricists of the songs of such movies had indepth knowledge about the subject as we can see from the lyrics of this song, which comes from the pen of B D Mishra. Music is composed by S N Tripathi.

With this song, “Sampoorna Devi Darshan”(1971) makes its debut in the blog. 1971 saw 115 movies getting released. This movie is the 106th movie of 1971 to find representation in the blog.

We this opportunity to wish everyone a very happy, healthy and prosperous new year and chaitr navraatr.

Let us now listen to song devoted to Maa Durga, the Goddess who is worshipped during this Chaitr Navraatr.


Song-Jai devi maataa Jai Nau Durga Maataa (Sampoorna Devi Darshan)(1971) Singer- Manna Dey, Chandrani Mukherjee, Lyrics – B D Mishra, Music – S N Tripathi

Lyrics(Provided by Avinash Scrapwala)

jai devi maata aa
jai nau durga maata aa
janani jai ho teri
amar tera naata aa
jayo jayo maa jagdambe ae

pehla hai swaroop
shail putri maata
hai shail putri maata
jo inke gun gaataa
sukh sampatti paataa
jayo jayo maa jagdambe ae

dooja hai swaroop
bramhchaarini maa aa
hai bramhchaarini maa
bramhroopini tu hi
paap haarini maa aa
jayo jayo maa jagdambe

teeja hai swaroop
chandraghanta maata
hai chandraghanta maata
tujhko paa ke man ka
andhiyaara jaataa aa
jayo jayo maa jagdambe

chautha hai swaroop
kushmaandaa maayi
hai kushmaanda maayi
inse hi ban jaata
jeewan sukhdaayi
jayo jayo maa jagdambe

pancham roop anoop
devi skandmaata
hai devi skandmaata
trigun tritaap vinaashini
tribhuvan ki praata
jayo jayo maa jagdambe

chhanthvi katyaayani
maayi taaran haari
maayi taaran haari
poojen brahma vishnu
poojen tripuraari
jayo jayo maa jagdambe

saantvin ye mahagauri
aathvin kaalraatri
hai aathvin kaalraatri
nauvvaan roop hai tera
maayi siddhidhaatri
jayo jayo maa jagdambe

nau durga ki aarti
jo koyi gaave
ye jo koyi gaave
kahe shivanand swami
jag mein sukh paaye
jayo jayo maa jagdambe


This article is written by Avinash Scrapwala, 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 :

4649 Post No. : 16313

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 131 # Qawwalis – 9
——————————————-—–—————-——

Welcome all to another post presenting a song from the ‘decade of seventies-1971-1980’. The years when I was growing, and as a ‘child’ I have many memories and nostalgia especially related with the only popular entertainment medium available those days i.e., ‘Hindi Cinema’, ‘Radio’ and ‘Hindi Film Music’.

Today I am once again taking you to back to the ‘seventies’. Today we will listen to a ‘qawwali’ composed by Raam Laxman. His first on the blog in this category. Today’s song in not a ‘pure’ ‘qawwali’ but can be termed a ‘fusion-qawwali’ if I am not wrong. Today’s song can also remind readers of the famous ‘raaz ki baat kah doon to’ from the movie ‘Dharma-1973’.

Well, the today’s song or ‘qawwali’ is from the movie ‘Agent Vinod-1977’.

‘Agent Vinod-1977’ was directed by Deepak Bahri for ‘Sargam Pictures Pvt. Ltd., Bombay’.
It had Mahendra Sandhu, Asha Sachdev, Rehana Sultana, Iftekhar, Pinchoo Kapoor, Nazir Hussain, Ravindra Kapoor, K.N. Singh, V. Gopal, Vishwa Mehra, Viju Khote, Rajan Kapoor, Sunder, Bhagwan, Sharat Saksena, Kamal Deep, Master Romi, Shail Chaturvedi, Ranvir Raj, Gurbachan, Brujendra Mohan, Jagdeep, Helen, Jayshree T., Leena Das, Sheetal, Asha Potdar, Geeta Khanna, Shobhna Shah and others.

This movie was passed by Censor Board on 23.07.1977.

I vaguely remember to have watched this movie with my Father, I had forgotten about this movie except its one song ‘Lovelina aa gaya main’. And later on, when I started my music collection, I was always looking for this movies’ song. The other thing that had made to my ‘impressionable mind’ was its dashing hero Mahendra Sandhu. However, I do not remember if I watched his other movies too (they are not so many I think).
But like many other stars from the ‘seventies’, I always remember Mahendra Sandhu’s name whenever movies or related stories about movies were discussed among friends or in the family with elders.

This movie had six songs which were penned by Ravindra Rawal and composed to music by Raam-Laxman.

Following is the list of songs of this movie (as given in HFGK Vol-V-1971-1980);

S.No. Song Title Singer/s Posted On
01 Zu zu … main jhonka matwaala Kishore Kumar, chorus
02 Lovelina main aa gaya Asha Bhonsle, Shailendra Singh 21.10.2013
03 Band kamre mein ek ladki akeli Asha Bhonsle, Mahendra Sandhu
04 Mehfil mein aaye ho aao muqaabil Asha Bhonsle, Manna Dey Being discussed today
05 Yaara dildaara, tera ye ishaara Usha Mangeshkar, Dilraj Kaur
06 Ham to nikle ram bharose Mahendra Kapoor, Jaspal Singh, chorus

We can see that as many as nine singers were used for the six songs in this movie. This easily give us hint about the variety of the songs this movie had.

Only one song from this movie has been posted on the blog on 21.10.2013. Around the same time, I had noted the today’s song which is being presented today.

Today’s song happens in a party and is sung by Asha Bhonsle and Manna Dey. On screen it is Leena Das and Mahendra Sandhu lip-syncing in the voices of Asha Bhonsle and Manna Dey respectively.
Also seen in the picturization is Asha Sachdev who accompanies Mahendra Sandhu in the party which I guess is hosted by Pinchoo Kapoor who seems to have planned to trap Mahendra Sandhu – a secret agent. And for this purpose, Leena Das sings the song to woo Mahendra Sandhu. Mahendra Sandhu who is already aware of their intentions joins the song. Not just that , he even cautions them ‘hamse na uljho aye jaan e mehfil jaan jaaoge,
pehchaan jaaoge, phir maan jaaoge’ 😊

I hope readers will like today’s song as much as I do. 😊

let us now enjoy today’s song …


Song-Mehfil mein aaye ho aao muqaabil jaan jaayenge (Agent Vinod)(1977) Singers-Asha Bhonsle, Manna Dey, Lyrics-Ravindra Rawal, MD-Ram Laxman

Lyrics

Aa aa aa
Aa aa aa
Aa aa aa
aa aa aa
Jo roshani hai
aaftaab chaand taaron mein
Jo dilkashi hai
chaman ke haseen nazaaron mein
Mere shabaab mein
aise samaa gaye ae donon
Ke jaise pyaar ke nagme
jawaan bahaaron mein

Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge
Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge

Aji hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge

Surkh zanjeer nazar teer
Adaayein khanjar
Hain tabassum mein bijliyaan
Mera shabaab kehar
Aa aa
Inmein uljhaana mujhe
Koi aasaan nahin
Maut ka darr ho jise
Main wo naadaan nahin
Kabhi nishaana
Kabhi waar chook jaata hai
Mera qaatil har ek baar
Jhhuk jaata hai
Iss ghadi bhi hoon nishaane pe
Waar kar jaao
Ya meri maut ka phir aitbaar kar jaao

Hmm bahut dekhe
Haan
Hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge

Waqt ke saath main har rang mein
Dhal saktaa hoon
Zidd pe aaoon to rukh hawaa ka
Badal saktaa hoon

Josh mein yoon naa machal
Naaz itna bhi naa kar
Tujhko behkaa gayi hai
Ye jawaani ki lehar
Ye mera kaam thha
Aagaah tujhe kar dena
Koi mushkil nahin
Gumraah tujhe kar dena
zulfein kar doon jo pareshaan to
Aise ghir jaao
Inn andheron mein
Umr bhar bhatakte reh jaao
Achha
Hmm
Mehfil mein aaye ho
Aao muqaabil jaan jaayenge
Pehchaan jaayenge
Phir maan jaayenge

Jahaan mein dekhe hi nahin hai
Toone zindaa dil

Tu bhi samjhaa nahin nadaan
Adaayein qaatil
Aa aa
Aaj maukaa hai milaa

Phir na karnaa tu gilaa
Main hoon tayyar khadaa
Jhoothi zidd pe hai adaa
Jaane kyon teri jawaani pe
Reham aata hai
Haath aaya shikaar bhi
Koi ganwaata hai

Nainon se teer chale
Haan
Meri aahon se chale

Neechi nazron ki hayaa
Khaali ye waar gayaa
Tabassum ki ye bijlee
Naa meri jaan nikli
Ye meri shokh adaa
Kuchh asar hi naa hua
Dekh meri angdaayee
Ye bhi mujh tak na aayi

Mere liye koi nayaa sitam
Ijaad karo
Ya jo jawaab diya hai maine
Use yaad karo
Kyon yaad aaya ke nahin

Aji hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge

Hamse na uljho
Ae jaan e mehfil jaan jaaoge
Pehchaan jaaoge
Phir maan jaaoge


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16600 song posts by now.

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

Important Announcement

(© 2008 - 2021) 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

16615

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

Total visits so far

  • 14,816,737 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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