Posts Tagged ‘Pt Indra Chandra’
Chaand mama ne amrood churaaya re
Posted on: March 27, 2022
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.
This article is the 16900th post in the blog on its 5000th day.
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Blog Day : |
5000 | Post No. : | 16900 |
Today (27 March 2022) is one of those days that arrives regularly in the blog. It is the century post day. Moreover, it is an even more special day for the blog. Today is the 5000th day of the blog !
The fact that today is the 5000th day of the blog was known for quite some time. The idea that this day should coincide with the century post germinated a few days ago, even though it meant that we needed to go at a slower rate than even the already slow rate for the blog.
Sudhir Jee, who floated this idea was under the impression till the last moment that today we were on to 17000th post. It was only at the last moment that he realised that we were onto just the 16900th post. 🙂
Sudhir Jee had identified a special post for the occasion of 17000th post and so that song had to be held back.
We did not have any backup song for the occasion.
Most of our century posts get posted on week days when the blog gets more visits. Today is perhaps the first time in many years when the century post was getting covered on a Sunday. The previous such occasion that I can think of was 20 July 2014, which was a Sunday too and that was the day when the 10000th post was covered on the blog. That day which saw 8 articles being posted was a memorable day for the blog, as the regulars of the blog remember even to this day.
Today is Sunday. A few years ago, I had discovered a rare and remarkable old song of 1940s that celebrated Sunday. I vaguely remembered that I had noted it down and I had even downloaded that song. That song would have been a perfect century song for today. But I could not locate that song, despite searching hard in my portable hard disks and elsewhere. It could well have been hiding in some laptop that I am no longer using.
I informed Sudhir Jee about this song and he too searched for it. But that song could not be located.
During my searches, I came across some other rare songs and I considered using one of them, in case our “Sunday” song could not be located. So here is that song.
This song, quite an interesting and rare song, is from ‘Phulwaari’ (1946).
‘Phulwaari’ (1946) was directed by Chaturbhuj Doshi. The movie had Motilal, Khursheed, Madhubala, Ramayan Tiwari etc in it. This obscure movie had 9 obscure songs in it. Two songs from the movie have been covered in the blog.
This song, third from the movie and 16900th song in the blog is a children’s song. It is sung by Baby Anu and chorus. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.
The song is a take on Chanda Mama from her point of view. It is quite a fun song, quite an interesting song indeed. The song , like its movie ended up becoming obscure.
I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of the song.
I have no idea who this singer Baby Anu was. She may have been a small child while recording this song, but today she would be in her 70s. I request our knowledgeable readers to throw light on her. She makes her debut as a playback singer in the blog.
16900 songs on the 5000th day for the blog ! It has been quite a marathon run for this musical blog where songs have been covered at a rate of 3.4 songs everyday. These figures demonstrate the fact that if one can be consistent and disciplined that it is possible to achieve such high figures, even if our daily rate of posts may be seemingly low.
The blog now has 16900 songs from nearly 4600 movies, and around 1300 of these movies have already been Yippeee’d. These figures may not appear too daunting to the uninitiated, but these figures are big figures. We realize their size only when we try to list them or try to go through the list, or try to take a print out.
The next century mark is the big mark of 17000th song. Who thought, 14 years ago during 2008, that this blog would still be around in 2022 and people here would talk of 17000 songs in it. We are here and that target is just 100 songs away from us.
I take this opportunity to thank one and all. And as always, let us hope that this musical bandwagon keeps rolling on and on and we keep discovering many musical gems in our journey.
Song-Chaand mama ne amrood churaaya re (Phulwaari)(1946) Singer-Baby Anu, Lyrics-Pt Indra, MD-Hansraj Bahl
Chorus
Lyrics
chaand mama ne
chaand mama ne ho
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama chaand mama
chaand mama rakhiya bandhaane ko aaya
ho o o o
ho o o o
chaand mama rakhiya bandhaane ko aaya
jholi mein kitne khilaune wo laaya
jholi mein
jholi mein kitne khilaune wo laaya
munni munne ke man bhaaya re
munni munne ke man bhaaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
baaghon mein aana
chaand mama chaand mama
baaghon mein aana
munni ko kirnon ka jhoola jhulaana
munni ko
munni ko kirnon ka jhoola jhulaana
jhoolan ka mausam aaya re
jhoolan ka mausam aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chaand mama chaand mama
chaand mama chaand mama
school jaana
chaand mama chaand mama
school jaana
master jee se chhutti dilaana
chhutti dilaana
master jee se chhutti dilaana
mera janm din aaya re
mera janm din aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama ne
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.
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Blog Day : |
4817 | Post No. : | 16588 |
Today’s song is a funny Parody song taking place in a Mental Hospital and the singing artistes on the screen are all hospital patients including the Hero of the film. The song is from the film Do Dulhe-1955.
This was a film made by United Film Art, Bombay, with the joint producer Gemini Pictures, Madras. The entire film was shot in Gemini Studios, Madras. This was a remake of a very successful Tamil film ” Manam Pola Mangalyam”- 1953, in which Gemini Ganesan ( real name R.Ganesh) and Savitri had acted. This was their first film together. Later they did many films, but from this film onwards their love story started and Ganesan made Savitri his second wife.
In the 30’s and 40’s decades there were many films made in Poona/Bombay and Calcutta which were Bilinguals, i.e. in Marathi and Hindi as well as Bangla and Hindi. This was primarily to grab the local and all India markets. In those days, there were no Hindi films from the south. With the launch of film Chandralekha-1948, first time producer director S S Vasan released his film’s Hindi version on a grand scale all over India with about 700 prints. It was a very bold and maiden effort, but it paid very rich dividends to Vasan.
Encouraged by Vasan’s success, other film companies of South, including AVM entered the fray and from 1949 Bilinguals and Trilingual films were made in Tamil , Telugu and Hindi. Within a few years film remakes in Kannada and Malayalam also started in Madras. Compared to other languages, Kannada and Malayalam film production had started late in their states. Madras took its advantage. Few Tamil film makers made remakes even in Sinhala languages for the Sri Lanka market. By that time their Burmese market was lost. This went on till about the 70’s. After that film makers resorted to dubbing the film or selling the rights to Bombay to make remakes and the import of Hindi remakes from the south ended.
It was interesting to note that during that period, southern film makers had some favourites among Actors, actresses and MDs. Bombay film artistes used to be very eager to go to Madras for shooting, because of few reasons. One- their payments were immediate. Secondly, their production schedules were well planned and the work culture was disciplined. Thirdly, their stay, transport, travel and food arrangements were impeccable. All in all, they had only to go there and work diligently, without having tensions, usually seen in the Bombay film industry.
I have been seeing southern language films since the late 40’s. Their films used to be very entertaining and suitable for family viewing. There was ‘ something for everybody’ in their films. Comedy, Tragedy, Adventure, Fighting, Tears, Love, Lullaby and what not ! But then this made their films lengthy and full of too many characters and subplots.
Today’s film was also one such film. The film was directed by K.J.Mahadevan and the MD was B.S.Kalla. Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like, Ghantasala, B S Kalla, S D Parthasarathi, E.Shankar, C.Subramanyam, B.Laxman, Vishwanathan, R.Sudarshanam, S V Venkataramana, T R Ramanathan and T G Lingappa are few of the less known names-for Hindi belt-from south who gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers, for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan- Ramamurthy were at least known names here. Their films like Piya milan-55, Suvarna Sundari-58 and Naya Aadmi-56 had many popular songs.
Balkrishna Kalla and E. Shanker team gave music to films like Mangala-50, Sansar-51, Mr.Sampat-52, Bahut din Huye-54. Balkrishna Kalla with Mohd. Shafi gave music to Krishna Kanhaiya-52. With Parthasarathi and Rajeshwar Rao he gave music to Nishan-49. Independently he gave music to only one film-Do Dulhe-54. B.S.Kalla had also done a small role in the film Mangala-50. The southern composers gave music only to dubbed films or remakes essentially.
The lyricist was south’s favourite Pt. Indra. The cast was huge. Main artistes were Shyama, Sajjan, Vananja, Agha, David, Lalita Pawar, Kanhaiyalal, B M Vyas, Achala Sachdev, Suryakantam, Ishwar lal etc etc. The hero was Sajjan- and in a double role too !. Some of the readers will be surprised with this name. Unfortunately artistes like Sajjan, who were multi-skilled, did not get due recognition in Hindi film industry or in even the general film going public. Artistes like Badri Pershad, Dewan Sharar, Shakuntala Paranjpye, Ranjan etc. were experts in fields other than film acting and had achieved expertise, name and fame in different fields. Sajjan was also one such artiste. He was a film actor, Stage actor, writer of Poetry, assistant film director, a poet, lyricist, Dialogue writer and a T.V.Artiste.
Born on January 15, 1921 in Jaipur, his full name was Sajjan Lal Purohit, a Pushkarna Bramhin. For many generations in his family, no one was interested in music or acting. He was famous with his first name in the movie world. Sajjan did his graduation from Jawahar college, Jodhpur. He had a desire to be a lawyer but not an actor.
In 1941, he arrived in Calcutta and worked as an apprentice in a laboratory of East India Film Company. His initial breakthrough in films was as an extra in films like Masoom (1941), Chowringhee (1942). Sajjan left Calcutta during World War II and reached Bombay. In Bombay he knew Prithwiraj Kapoor from his Calcutta days. He joined the Prithvi Theatre and worked in dramas like, Shakuntala, Pathan, Deewar, Aahuti, Kalakar, Kisan Paisa etc etc. Here he came into contact with Shammi, Raj, Shashi kapoor, Omprakash, Premnath, Zohra Saigal, B M Vyas, Ram Ganguli, Shankar, jaikishen and others. Afterwards, he started doing dramas separately. In ” Dhola Marwan” his heroine was Snehprabha Pradhan. He did many One Man Shows too.
He was a writer of Poetry. He participated in many gatherings of poets. His poetry book ” Jawan” became so popular that even Nehru had bought 100 copies of it. It was reprinted four times.
In Mumbai he worked as an assistant to famous director Kidar Sharma. At that time great showman Raj Kapoor also worked as an assistant to Kidar Sharma. He also worked as assistant to Gajanan Jagirdar and for the film Vakil Sahib-43 and got Rs. 35 as salary.
A poet by heart, Sajjan showed His talent when he wrote dialogues for Meena -1944 and lyrics for Door Chalen -1946, Jail Yatra-47 and Dhanyavad -1948.
His acting debut film was Mera Suhag-47. After that Bombay Theatre’s Muqaddar was released in 1950. His heroine was Nalini Jayvant. As a Hero, he worked with Geeta Bali,Nutan,Nimmi,Shyama,Shakila, Nalini Jaywant etc etc.
Now Sajjan was well established in the film world. In 1950s- 60s Sajjan acted as hero or side-hero in films like, Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, paridhaan, Do Dulhe, Ghar-Ghar Mein Diwali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam, Jhanjhar, Halla- Gulla. As a hero his last film was Kabuliwala-61 and as an artist he last appeared in the 1986 release Shatru.
Artiste of more than 150 films, Sajjan also worked in TV serials. In Vikram-Betaal he played Betaal. His other serial was Lena-Dena.
Sajjan acted in more than 150 films. Though he was a reasonably good actor, he felt very awkward while singing a song on screen. His Producers and Directors knew this and they gave him minimum songs. Thus he is on record in his 150+ films to have sung around 20 odd songs only, in spite of being a Hero in some films. After retirement, Sajjan was not in good health, but he wrote a book ‘ Ras-Bhav ‘, discussing all the 9 Rasas as enunciated by Bharat Muni’s Treatise on “Natya Shastra”. He also published a book on the Birth Centenary of Prithviraj Kapoor, whom he revered very much. Sajjan died on 17-5-2000.
Film Do Dulhe was an entertaining film. I saw this film again yesterday evening. Here is the story, in short…
Parvati/ Paro (Shyama) is a motherless daughter of B.M.Gupta (B.M.Vyas). Her step mother (Lalita Pawar) and step sister Dulari (Vanaja) torture her with household chores etc. Dulari’s marriage is arranged with Kundan (Sajjan), who comes from Madras to see Dulari. On the way he meets Paro and they fall in love. Paro’s marriage is being arranged with an old widower Seth Deen Dayal (David) who has lent 15 thousand to Paro’s father. Kundan goes to Madras to bring money to pay Deen Dayal . When he comes he sees Paro’s marriage preparations. He returns heartbroken to Madras. Meanwhile Paro also runs away from home and goes to Madras to meet Kundan. They meet but due to misunderstanding he leaves her.
Kundan is caught by mental Hospital employees as their patient kanhaiya-a look alike(Sajjan again). The patient Kanhaiya escapes and is brought as Kundan to Dulari’s house. After a few (actually many) coincidences, everything is clear and finally Kundan marries Paro and a recovered Kanhaiya marries Dulari. Thus Do Dulhe get Do Dulhans and the audience feels relieved from seeing further ridiculous levels the story could go to !
Today’s song is the 6th song from this film to feature here. This is a funny parody song sung by patients of the mental hospital on the screen and after seeing this video you are supposed to ROFL !
Audio
Video
Song- Haseenon ke chakkar mein hargiz na aana(Do Dulhe)(1955) Singer- Mohd. Rafi, Unknown male, chorus, Lyricist- Pt. Indra, MD- B.S.Kalla
Lyrics
Naam hai mere baap ka
Soda Subedaar
iski soorat dekh ke
aata mujhe bukhaar
sa re ga ma pa
ta dhin taka dhin
ta dhin taka dhin
ta dhin taka dhin
aaa
aa aa aa
haseenon ke chakkar mein hargiz na aana
haseenon ke chakkar mein hargiz na aana
tu mar ke bhi inpar
na hona deewaana
haseenon ke chakkar mein hargiz na aana
tu mar ke bhi inpe na hona deewaana
jo ?? mein atka
arre waah atka
jo ?? mein atka
wo latka umar bhar
?? kachoomar hua hai
jo ?? mein atka
wo latka umar bhar
?? kachoomar hua hai
ta dhin taka dhin
ta dhin taka dhin
ta dhin dhinna dhid tak tak dhin
ta dhin dhinna dhid tak tak dhin
ta dhin dhinna dhid tak tak dhin
tad tik ta
aa aa
aa aa
abke saawan
ho ghar aajaa
ho o ho o
abke saawan ghar aaja
kaahe ko ho gaye
fauz mein bharti
kaise ??? ki
?? sataawe
?? laga jaa
abke saawan ghar aajaa
ho o
abke saawan ghar aajaa
ho sainyya
abke saawan ghar aajaa o sainyya
abke saawan ghar aajaa
aaja re aajaa
ho ho ho
aaja re aaja
aaja
aaja aajaa
aaja meri barbaad muhabbat ke sahaare
Bhagwaan bhi sunta nahin
kis kis ko pukaaren
aaja aajaa
re re re re re re re re
re re re re re re
dekha jo tera husn to
hum ho gaye lattoo
ho
hum ho gaye lattoo
rote huye aaye thhe hum
rote hi sidhaare
Bhagwaan bhi sunta nahin
kis kis ko pukaare
hey ae ae
kaise karoon kaise karoon pyaar re
???
ho o ho o
???
kaise karoon kaise karoon pyaar re
???
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
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Blog Day : |
4773 | Post No. : | 16522 | Movie Count : |
4496 |
Today’s song is from a stunt film-Ji Haan aka Yes Please-1945. Made by Gautam Chitra, Bombay, it had a pair of Directors-Babubhai Mistri and Ramnik Bhatt. All songs were written by Pt. Indra and the music was composed by S N Tripathi. The cast was full of the usual members of stunt films… Master bhagwan, Agha, Shanta Patel, Meera, Gulab, Azeem, Anant Prabhu etc.etc.
The 8 songs of this film give us some idea about the film. Out of the 8 songs, 5 are Comedy songs. 5 songs are sung by Shanta patel, 2 are by Meera and 1 is a chorus song Shanta Patel or Meerawere really not singers by any standards. getting them to sing for the movie clearly indicated a measure to save on cost of the production. All these stunt films were made on a tight budget. Because of this, the investment was less and profits were more. As there was a fixed audience in almost every town for such films, the distributors did not mind to invest or buy the rights for various circuits.
Nowadays, one film costs around 5 to 10 crores to make it. If some A+ grade star is featured, then the cost can go up to 25 to 30 crores also. In this context, if I were to tell you that in the 40’s decade a stunt film was made within just one Lakh, would you believe it ? You ought to, because thats what was required, according to Master Bhagwan-the stunt film expert of those days. During the first decade i.e. the 30’s, the cost was about 40 to 50 thousand rupees only, inclusive of everything.
As the decade of the 50’s was a Gold mine for Mythological and Religious films (124 films in 10 years), the 40’s was a storehouse for stunt films. The Cast, Director and the Production House were fixed. Lyricist and the MD depended on availability at cheaper cost or those who wanted an opening to films. Sometimes in the 60’s and the 70’s, the C grade films were the last resort for even the one time well known MDs. Composers like Anil Biswas, C. Ramchandra, Chitragupta and few others gave music to such films, for survival.
Names of stunt film actors is an interesting matter. Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani,Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao,Harishchandra Rao, Shankar Rao,Master Bhagwan, Mirajkar, Jamshed ji, John Cavas, Lalita Pawar, Navin chandra…and many such names.
Kamran, Afghan Sandow,Habib, Ismail,, Dalpat, Dilawar, Leela Pawar, Leela Gupte, Shanta Patel, Usha Shukla, Madhuri, Dhondu, Shaikh, Nazi, Nishi, etc were a guarantee of 2-3 hours of exciting times. Forget the music or a coherent sensible story. Fighting, Fencing, Riding and a mix of Comedy and Dance was an assured entertainment.
In addition to all this, actors with odd and weird names were to be always found in stunt film casts. Have you ever heard actors with names like Bajarbattu, Phool Kumari, Maruti pehelwan, Batata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films.
In the cast you will find a name Meera. This is aname for ‘ Same Name Confusion.’ At the same time, in the same period, there were 2 actresses named Meera. The Meera who acted in this C grade stunt film lasted a longer time. Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. her father was Superintendent-local Audit in AG’s office. Brother E. Alexander was an All India level cricketer. She passed her Inter Science exam from Benaras Hindu University. It was through one Mr. Seal, who was a manager in Adarsh Chitra, she got her first break in film Dolti Naiya-34 and Shah E Iran-34 but film Dhuwandhar-1935 was released first.. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available. My guess is that,besides acting,she must have sung a few songs in that film.
Her name later appears as an actress and singer in the film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. Thus many singers’ credit must have been lost in those years.Same case was with Amirbai Karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit, Prakash and Minerva Movietone.
She was married to Mr. R.N.Singh, Revenue Minister of Charkhari state.
As per information available, Meera acted in Shah E Iran-34,Dolti Naiya-34, Dhuandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daman-40, Chingari-40, Darshan-41, Armaan-42, Meri Duniya-42, Mauj-43, Dr. Kumar-44, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48, Sansar-51, Ilzam-54 and Hanuman Janma-54. She only sang in Nirmala-38 and Ulti Ganga-42. She sang 17 songs in 7 films.
Then there is also an actress named Gulab in the film cast. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.
Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed by Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.
Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.
Today’s song is also a comedy song. With this song, the film Ji Haan-1945 makes its Debut in the Blog.
Song- Haaye mora sainya to sattebaaz hai (Jee Haan)(1945) Singer- Meera, Lyricist- Pt. Indra, MD- S N Tripathi
Lyrics
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
Haaye mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
ghar mein na tel na chaawal na genhu
ghar mein na tel na chaawal na genhu
aaj khatre mein handiya ki laaj hai
haay khatre mein handiya ki laaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
sainyya to motor mein pam pam kare hai
sainyya to motor mein pam pam kare hai
haan pam pam kare hai
haan pam pam kare hai
aur ghar mein
aur ghar mein choohon ki aawaaz hai
haay ghar mein choohon ki aawaaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
mehndi lagaa kar main naihar se aayi
mehndi lagaa kar main naihar se aayi
haan naihar se aayi
haan naihar se aayi
aur aaj
mere gobar bhare haathh aaj hain
mere gobar bhare haathh aaj hain
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
sakhiyon to pahnen
sona aur chaandi
sakhiyon to pahnen
sona aur chaandi
haan sona aur chaandi
haan sona aur chaandi
aur yahaan
yahaan peetel ke hi
saare saaz hai
haay peetel ke hi
saare saaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
Meharbaan main hoon tumhaari
Posted on: June 2, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4702 | Post No. : | 16404 |
During my school days it was my hobby (or habit?) to see films on every Saturday and Sunday. Ours was a big joint family and my absence was hardly noticed by anyone. May be my absence was welcome ! I do not know. Anyway, during the holidays more films were seen. Language was no bar. I saw Hindi, English, Marathi, Telugu, Tamil and Kannada films. Out of these Hindi films were kore and other languages films were much less.
The preference for films was Hindi-English-Telugu-Tamil-Marathi and kannada. The basis for this was that kannada films were rare. Marathi ran for a month, Telugu/Tamil changed every week and Hindi films were in many theatres and different films for Morning and Regular shows. English films were generally in Morning shows only. But there were some theatres which showed exclusively English films in regular shows. These were in the Cantonment area of Secunderabad-the twin city. We used to see films there also at night.
In the 50’s decade a lot of remakes of South films used to come. Sometimes the same film in 3 languages ran in 3 different theatres, like the film Miss Mary-57 for example. Hindi film Miss Mary was running in one Cinema, Missiamma, the Tamil original was in another and Missamma, Telugu version was in yet another theatre. It became a game for us friends to see these films and discuss what the differences were in each version.
Forget our game, but in South India, the game of competition in capturing the Hindi market was in full swing in the 50’s. Since the film Chandralekha-48 became extremely successful all over India, with its Hindi version, other producers of the South started observing SS Vasan, who had found ” Alibaba’s Cave ‘ in the Hindi market. He had started making films in 3 languages to capture Hindi markets.
He dug up his old Tamil hit films and made remakes in Telugu and Hindi. Thus Tamil film Apoorva Sahodargal-49 ( based on Alexandre Dumas’ ‘The Corsican Brothers’) was made in Telugu as Apoorva Sahodarlu and in Hindi as Nishan-49. Then Vasan remembered his hit film Mangamma Sabatham-1943 in Tamil. He made a Hindi remake as Mangala-50. Later a Telugu remake Mangala Shapatham-65 was made, with NTR and Jamuna in the lead.He even made a remake in Simhalese language as Mathalan.
Observing Vasan making remakes and running to his bank very often, the other South producers were not to be outdone. The giant AVM dug up their Tamil hit of the 1949 Vazhkai and made a Telugu remake Jeevitham-50 as well as a Hindi remake Bahar-50, introducing Vaijayanti mala. In 1953 AVM made the film Ladki in Hindi and its remakes in Tamil and Telugu. AVM’s Tamil hit film Missiamma was made in Telugu as Missamma and in Hindi as Miss Mary, all in 1957. Film Chandirani was made in 3 languages in 1953.
The number of multi language films was huge. If you visit IMDB and look for remade Hindi films, you will get a loooooong list.During the 50’s a time came when multi language films were made at Calcutta, Madras and Kolhapur/Poona/Bombay. To get the actors speaking both the language dialogues was comparatively easy in Maharashtra, where Hindi speaking is not a problem. But for films remade in Bangla-Hindi or Tamil/Telugu- Hindi was indeed a problem.
As a solution, while the original actors remained the same in all versions, their Hindi dialogues were dubbed. Sometimes it caused a lip-synch problem, especially in close-ups. Some actors spoke their dialogues in Hindi themselves, but the pronunciation was a give away. This problem caused most Bangla, Tamil and Telugu actors to independently work in Hindi films. So, we find that most lead actors of these languages stayed away from Bombay made Hindi films. There were, however, few actors who did this successfully.
Thus, while we can see most lead actors of South and Bangla films in either dubbed or remade versions, it is only Dr. Rajkumar- the Kannada Superstar who NEVER acted in any Hindi films. In fact except ONE Telugu film ” Kalahasti Mahatmyam”-1954, he did not act in any other language than only Kannada..
By the end of the 50’s the South markets developed rapidly and fully, so the necessity of Hindi market diminished and so also remade and dubbed films. Today’s song is from film Mangala-50. It was a Gemini film directed by SS Vasan. There was a team of 3 composers – M.D.Parthasarathy, Balkrishna Kalla and E.Sankar Sastry. Sometimes I wondered how a man like Sankar, who was an Internationally famous and honoured Instrumental (Veena) musician worked in a studio as a composer. But then I realised that in his first half of career he was in films, but the second half was more into Veena Vadan.
Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.
He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like, Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.
He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishat Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York.
E.Sankar Sastry died in 1987.
In the cast of the film Mangala-50 one finds the name of Bhanumathi. Outside South India, most people are unaware of the greatness of some artistes from South. Here is a short Bio of Bhanumathi, but it brings out her greatness only partly.
P. Bhanumathi Ramakrishna (7 September 1925 – 24 December 2005) was an actress, director, music director, singer, producer, novelist and lyricist. Widely known as the first female super star of Telugu cinema, Bhanumathi appeared in over 100 films predominantly in Telugu and Tamil languages. She was awarded the Padma Bhushan in 2001 for her contribution to the Indian cinema. She was honored among “women in cinema” at the 30th International Film Festival of India.
Bhanumathi was born on 7 September 1925 in Doddavaram village of Prakasam district, near Ongole, Andhra Pradesh. She is the third child to Saraswatamma and Bommaraju Venkata Subbaiah. She grew up watching her father perform in various stage shows. Her father, Venkata Subbiah, was a lover of classical music and trained her in music from an early age.
Bhanumathi entered the film industry in 1939, and acted in over 100 films in Telugu and Tamil. She was also called Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of astrology and philosophy. She is regarded as the first female super star of Telugu cinema.
She made her debut in Telugu cinema in 1939 as Kalindi (a 13 years old girl who is forced to marry an old man and ended her life by committing suicide) in Vara Vikrayam (Telugu), directed by C. Pullaiah. Her first film in Tamil was Ratnakumar in the year 1949 along with the famous hero of those days P. U. Chinnappa. This film was directed by Krishnan–Panju. Her first Hindi film was Nishan-1949. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi).
Her last film was made in 1998, entitled Pelli Kanuka. C. N. Annadurai gave her a title “Nadippukku Ilakkanam” (Grammar for acting) that suits her aptly. She was revered by many actors she had worked with like N.T.Rama Rao, Sivaji Ganesan, M. G. Ramachandran, Akkineni Nageswara Rao, Nagarjuna, Balakrishna, ChiranJeevi, Pawan Kalyan, Venkatesh for her bold and prolific versatility. One of her memorable movies in Tamil was Annai, in the year 1962 directed by Krishnan–Panju, where her acting was appreciated by all and also got the National Award for the film and for also performances in movies Anthasthulu and Palnati Yudham (1964) she received National Awards (Rashtrapati Award). She is the last recipient of Rashtrapati Award.
Due to her rift with Aluri Chakrapani, she left her role in Missamma movie (Initially Bhanumathi was shot for some scenes in the movie before being replaced by savitri ) but after the release of the movie she watched and commented that “she lost a wonderful role but industry gained a talented actress like savitri” which showed her sportiveness and encouragement towards new actors. Due to clash with Aluri Chakrapani, she produced a satirical movie on him titled Chakrapani which was a huge hit and became a classic in Tollywood for this movie she also worked as Music Director.
She acted in 8 Hindi films namely, Nishan-49, Mangala-49, Rani-52, Shamsheer-53, Chandirani-53, Hamen bhi jeene do-62, Nai Roshni-67 and Itni Jaldi kya hai-86. She directed 2 Hindi films – Chandirani-53 and Itni Jaldi kya hai-86. She also sang 12 songs in 4 Hindi films – Mangala, Rani, Shamsheer and Chandirani.
She is the first south Indian actress to receive Padma Awards. Apart from being a fine actress, she was also a talented musician. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular.
During her later years, she served on various movie related organizations. She was a Member of the State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was a Member of Children Film Society for 5 years, from 1965 to 1970.
In India, she was the first and the only woman to have owned a film studio, first actress to act in a dual role and the first woman to have directed a movie simultaneously in three languages.
Bhanumati was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories “Attagari Kathalu”. She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College,
During the shooting of the film Krishna Prema, she met P. S. Ramakrishna Rao, an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple married on 8 August 1943 and have one son, Bharani. Later they launched a popular production company, Bharani Pictures on their son’s name. She died at the age of 81 years.( Thanks to wikipedia, Cinerang by Isak Mujawar, Ateet ke sitare, HFGK, muVyz and my notes ).
Today’s song is sung by Bhanumathi. many of the songs of this film are copies of songs by Carmen Miranda. Enjoy….
Audio
Video
Song-Meherbaan main hoon tumhaari(Mangala)(1950) Singer- P Bhanumathi, Lyricist-Pt. Indra, MD- E Sankar Sastry
Lyrics
mamamamama
mamamami
mamamami
meharbaan main hoon tumhaari
tanananana
tanananana
tanananana
nanana
mamamamamami
mamamani
kadardaan tum ho hamaare
tanananana
tanananana
tanananana
nananana
Jeewan ki gaadi chalti hai
Posted on: December 31, 2020
- In: Beggar's song | Devnagri script lyrics by Avinash Scrapwala | Duet | Guest posts | Lata song | Lyrics contributed by readers | philosophical song | Post by Avinash Scrapwala | Rail song | Songs of 1950s (1951 to 1960) | Songs of 1955 | Talat Mehmood - Lata duet | Talat Mehmood songs | Yearwise breakup of songs
- 3 Comments
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.
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Blog Day : |
4549 | Post No. : | 16134 |
The year that was … “2020” … we have finally come to the end of ‘Year 2020’ which has shaken the whole world and while people are trying to come to normal, the pandemics’ ‘aftershocks’ and its ‘new improved stains’ are still threatening to harm the humanity further.
Our heart goes to those who have lost their lives, those who have struggled and those who have faced difficulties in the ‘pandemic period’.
From that point of view all of us, those who will see the morning of ‘2021,’ are fortunate and should express our gratitude to the almighty, well-wishers, family members and friends, and to all them who have been caring for each other and maintaining social discipline to help the country fight back to this calamity.
Life moves on … and for people like me and like-minded music lovers this blog has been the main sources of motivation where we visited and enjoyed music to give us that much needed ‘therapeutic’ relief to forget for some time the harsh realities of life and sometime making us philosophical to think over and give a fight back or even to do an introspection.
Here I would like to highlight one comment on the blog by our regular inspiration Shri Manohar Lal Dave ji.
Suddenly it seems ONE DAY match for SHANKAR JAIKISHAN because there was no such T20 in their time. Thanks to Avinash ji, Atul ji…With SJ nearing 1K mark, the trio of lyricist-singer-composer in a song will be achieved and the BLOG will be complete in a sense in this gloomy year 2020. It will be an achievement for SJ to touch 1k mark first which they justifiably deserve like Sunil Gavaskar touching 10K mark in test.
I do not know how many of us have read this above comment and how everybody of us had interpreted it. But, for me it is a very big comment and while it also shares ‘feelings’ of many like me, it’s also the love for this blog and its magic that we are looking for our daily motivation here.
Regulars on the blog are aware of my (our) love for the railways 😊 When I came back from Kenya last year I had so many plans to visit my Mother (in Maharashtra) and other relatives and gang-outs with our team members, and thus travelling by train and relive the experience of train journey (after a long gap). However, fortunately or unfortunately it could not happen. The one ‘mini gang-out’ chance was missed on account of my health issues and after that the ‘lockdown’ happened and train services were cancelled. Secondly, then I got a job and it turned out to be the ‘shortest tenure job’ of my career. Meanwhile health issues continued and after some time they became ‘mind issues’😊
During this time where everything was looking going wrong the only thing I was doing ‘right’ (or I was able to do it correctly) was contributing to the blog with write-ups and sharing songs. It was like a retired person life or semi-retired life for me. (sabbatical is the other word – ‘Doctor’s terminology 😊)
Well, I was daily praying to the almighty to bring my life on ‘track’. (मेरी गाड़ी को पटरी पर ला दो भगवान्). And as it so happened the almighty got me engaged indirectly in the ‘maintenance’ of ‘tracks’ for all. (or मैंने उपरवाले से प्रार्थना की थी के मेरी गाड़ी को पटरी पर ला दो भगवान्, पर भगवान् मुझे काम ही ऐसा दिया के मैं सब के लिए पटरियों के मरम्मत के काम में हाथ बटाऊँ).
While the first job was around 35-40 kms from my residence the second one is 50-55 kms away from the city. Travelling for the first job I have to cross a over bridge on a railway line near the satellite station of the city and I used to see trains coming and going from a longer distance.
But now I am getting to watch the ‘tracks’ daily with those beautiful ‘track maintenance machines’ (innovation of the technology). Secondly a railway line passes around this place so I can watch trains coming and going. That reminds me of all the ‘train songs’ from our movies and specially ‘gaadi bulaa rahi hai’, which is a source of inspiration and motivation and how accurate are the words in this song …
dekho wo rail,
bachchon ka khel,
seekho sabak jawaanon
sar pe hai bojh,
seene mein aag,
lab pe duaa hai jaano
phir bhi ye ja rahi hai,
naghmein suna rahi hai
gaadi bula rahi hai,
seetee bajaa rahi hai
This has become my daily inspiration and motivation now.
Another good thing happening at the end of the year was the pre-engagement function of elder daughter 😊 (Sahir’s song always playing in the back ground in my mind).
So, the year ‘2020’ is ending on a very happy note for me on both home and work fronts. At work I have taken a new challenge but the daily inspiration and motivation – the train – with me. I get to read this tagline ‘the journey continues … with many miles to go’ daily now and it reminds me that the journey is still on … my journey continues…
And, that is why the today’s song is a ‘train song’ sung by Lata Mangeshkar and Talat Mehmood. It is from the 1955 movie ‘Do Dulhe’. Lyrics are by Pandit Indra and music is composed by B.S. Kalla.
On screen it is performed by a male and a female actress whom I am unable to identify, however Shyama and Sajjan are also seen in the picturisation of this song.
I had come across this song more than two years back now, when there was a discussion about train songs on the ‘Whatsapp group’ of Atulites.
Lastly, I wish to add about the other love of our group that is ‘cricket’. The year ended on a happy note for India as our team scored a win over Australia. The ‘year-ending’ also reminds me of statistics like most ‘runs’ or ‘wickets’ and ‘run and wickets double’ in a single ‘calendar’ year. If the scores in single calendar year is to be considered with reference to ‘write-ups’ and/ or ‘lyrics’ shared will be interesting to know (tnih) for the artists (as well as the contributors) 😊
Let us now enjoy this philosophical train song …
Video
Audio
Song-Jeewan ki gaadi chalti hai (Do Dulhe)(1955) Singers-Talat Mehmood, Lata, Lyrics-Pt Indra Chandra, MD- B S Kalla
Both
Lyrics
Jeewan ki ee gaadi chalti hai …
Jeewan ki gaadi chalti hai
Kuchh rukti phir chalti
Jeewan ki gaadi chalti gaadi chalti
Oonchi neechi raahon pe
Yoon nadiya chali machalti
Gaadi chalti
Jeewan ki ee gaadi chalti
Koyi sukhi hai
Koyi dukhi hai
Koyi gaata
Koyi rota aa
Koyi gaata
Koyi rota aa
kamar jhukaaye khadaa hai koyi
Paaon pasaare sota aa aa
Paaon pasaare sota aa
Kabhi sawera hota sukh ka aa
Aa aa aa aa
Kabhi sawera hota sukh ka
Dukh ki sandhya dhalti ee
Aansoo aur geeton ki duniya
Rehti sadaa badalti
Aansoo aur geeton ki duniya
Rehti sadaa badalti
Gaadi chalti
Jeewan ki ee gaadi chalti
Jeewan ki gaadi chalti hai
Kuchh rukti phir chalti
Jeewan ki gaadi chalti gaadi chalti
Jeewan ki gaadi chalti gaadi chalti
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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जीवन की ई गाड़ी चलती है …
जीवन की गाड़ी चलती है
कुछ रूकती फिर चलती
जीवन की गाड़ी चलती गाड़ी चलती
ऊंची नीची राहों पे
यूं नदिया चली मचलती
गाड़ी चलती
जीवन की ई गाड़ी चलती
कोई सुखी है
कोई दुखी है
कोई गाता
कोई रोता आ
कोई गाता
कोई रोता आ आ
कमर झुकाए खडा है कोई
पांव पसारे सोता आ आ
पांव पसारे सोता आ
कभी सवेरा होता सुख का आ
आ आ आ आ
कभी सवेरा होता सुख का
दुःख की संध्या ढलती ई
आंसू और गीतों की दुनिया
रहती सदा बदलती
आंसू और गीतों की दुनिया
रहती सदा बदलती
गाड़ी चलती
जीवन की ई गाड़ी चलती
जीवन की गाड़ी चलती है
कुछ रूकती फिर चलती
जीवन की गाड़ी चलती गाड़ी चलती
जीवन की गाड़ी चलती गाड़ी चलती
O mere pyaaron zameen ke taaron
Posted on: September 8, 2020
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4435 | Post No. : | 15872 |
S. Mohinder (8/09/1925-6/9/2020) : A tribute
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Just as I was preparing this post for the birth anniversaries of both S. Mohinder and Asha Bhosle, comes the news demise of S. Mohinder. As I don’t know much about the music director, I was looking up on Google for basic information if it is available. I found the sad news and this news item.
S. Mohinder, among the last of the musicians of the 40’s, was born in Punjab on 8th September, 1925. The end has come just two days before he was to turn 95.
K. S. Shenoy Sir had made this comment to my recent post :
Nahm Ji, not heard this one before. Nice rendering by Rafi Ji.
At the beginning when I read that the post is about a children’s song, two songs immediately flashed in my mind
(Iconic) ‘Nanhe Munne….’
And ‘O mere pyarozameenke taro…’. Such beautiful song by Rafi Ji ,Asha&Sudha. Though not a sad tune, in the context of the movie it brings tears to my eyes.
He also gave the link for this song from the film ‘Zameen Ke Taare” (1960), which I found to be very sweet and poignant. Not just the mukhda only which Rafi sahab is singing, but the stanzas by two kids for whom Asha Bhonsle and Sudha Malhotra are singing. This was an unknown song and I heard it for the first time that day. It felt a familiar and dear song right from the first hearing. It is a lorry song also with the lorry driver, who is I think ‘Anwar Hussain’, the brother of Nargis. But his filmography everywhere has missed this movie,”Zameen ke Taare”, where he is getting to sing such a melodious song. The songs are composed by S. Mohinder and lyricist of this song is Pandit Indra.
Since I am doing anniversary posts regularly whenever possible, I decided to write a post for this children’s song for 8th September is the birth date of both S. Mohinder and Asha Bhonsle.
But that 95th birthday was not destined to be. So as a tribute to S. Mohinder I am reproducing a few lines from the famous song by the veteran composer of melodious songs :
mere liye sahar bhi aayi hai raat ban kar
niklaa meraa janaazaa meri baraat ban kar
achchhaa huaa jo tumne dekhaa na ye nazaaraa
haafiz khudaa tumhaaraa
guzraa huaa zamaanaa
aataa nahin dubaaraa
haafiz khudaa tumhaaraa
haafiz khudaa tumhaaraa
The famous song actually starts with this sha’ir byTanvir Naqvi :
Bhool jaana meri wafaaon ko
Bakhsh denaa meri khataaon ko…..
May the departed soul, rest in eternal, heavenly peace.
Audio
Video
Song-O mere pyaaron zameen ke taaron (Zameen Ke Taare)(1960) Singers-Rafi, Sudha Malhotra, Asha Bhonsle, Lyrics-Pt Indra, MD-S Mohinder
Sudha Malhotra + Asha Bhonsle
Lyrics
aaa aaa aaa aaa
ohhohoho
hoooooooo
o mere pyaaron
zameen ke taaron
o mere pyaaron
zameen ke taaron
jaana tumhenhaikahaan
o gaadi waale
le chal udaake
maiyyan hamaari jahaanaan
le chal tu ham ko wahaan
o mere pyaaron
zameen ke taaron
le jaaungaa main wahaan
kaajal lagaa ke
lori sunaake
hamko sulaati thhi maa aa
pyaar se jhoomke
mukhde ko choom ke
hamko jagaati thhi maa aa
khadi akeli
baat nihaare
maiyyan hamaari jahaanaan
le chal tu ham ko wahaan
o mere pyaaron
zameen ke taaron
le jaaungaa main wahaan
kehna na maana
ham ne jomaakaa
hamko rulaati thhi maan an
khilone de ke
pappi le ke
hamko hansaati thhi maan an
khadi akeli
baat nihaare
maiyyan hamaari jahaanaan
le chal tu ham ko wahaan
o mere pyaaron
zameen ke taaron
le jaaungaa main wahaan an
ham roothh jaate
aansoo bahaate
ham ko manaati thhi maanaan
god bithhaake
laddoo khilaa ke
hamko rijhaati thhi maanaan
khadi akeli
baat nihaare
maiyyan hamaari jahaanaan
le chal tu ham ko wahaan
o mere pyaaron
zameen ke taaron
le jaaungaa main wahaan
o gaadi waale
le chal udaake
maiyyan hamaari jahaanaan
le chal tu ham ko wahaan
o mere pyaaron
zameen ke taaron
le jaaungaa main wahaan
aaa aaa aaa aaa
oh oho ho
aaa aaa aaa aaa
oh oho ho
aaa aaa aaa aaa
oh oho ho
hmmmmmmmmmmm
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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