Posts Tagged ‘Pt Indra Chandra’
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 : |
3835 | Post No. : | 14843 | Movie Count : |
4059 |
Today’s song is from the film Return of Toofan Mail-42. It was a C grade Stunt film, made jointly ( for reasons not known,yet) by Wadia Movietone and Ranjit Studios. The film was directed by Aspy Irani ( Husband of actress Husn Bano) and the music was by Gyan Dutt for the lyrics of Pt. Indra.
Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, or Jadui putli ?
Obviously, these are the titles of all Stunt/Action films in Grade C. Considering the captive audience of such films, more spicy, odd and sensational titles were coined for these films to arouse curiosity. In the era of silent films, C grade stunt films were extremely popular. In fact a major part of the silent films was such films. May be that is the reason, why going to see a cinema was not considered good for impressionable girls and children of middle class and upper class, in those days.
Besides specific audience of workers,daily wagers and such other lower social strata, the stunt films had their own fixed Producers, Directors and even the actors. Most times, a set of action film actors was regular and specific to the production houses. For example, Fearless Nadia, John Cavas, Sayani Atish, Boman Shroff, the Billimorea brothers, Basheer etc were the fixtures in stunt films of Wadia Movietone. Master Bhagwan, Chandrarao, Harischandra rao, Azeembhai, Vasantrao and Baburao pehelwan, Leela Gupte, Prakash, Habeeb etc were with stunt films made by Bhagwan and Harischandra rao.
Besides the human actors, some trained animals as well as a car and a Motor cycle were also fixtures in stunt films. What’s more, these non-living and non -human participants too were named. So, you had Punjab ka Beta (Horse), Gunboat (Dog), and Austin ki Beti (car) in films made by Wadia Movietone. For Basant Pictures, it was Rajpoot (Horse), Moti (Dog) and Austin ki Bachhi (Car).
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 Bajar Battu, Phool kumari, Maruti pehelwan, Bataata, 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.
However, since the film Return of Toofan Mail was also made by Ranjit, there were some well known and regular actors in the cast like, Arun (Ahuja0, Shamim, Firoz Dastoor, Hari Shivdasani, Dikshit-Ghori, Azeem, Jal Khambata, Rajni, Azuri etc etc.
Film’s Heroine Shamim was variously billed as Shamim, Miss Shamim, Shamim Bano and Shamim Akhtar, in different films. She was born on 11th September 1926 in Lahore. Her father was a General Merchant. She used to sing and act in school dramas. She completed her matriculation from Islamia Girls school, Lahore. In 1939, she visited Bombay along with her father. They accidentally met director G.R.Sethi, who encouraged Shamim to join films. She too was keen on joining films.
She debuted in film Imaandar-1939. Then came Baghi-39, Niraali Duniya-40, Kanyadan-40,Jadui Nagari-40, Pyas-41, Dhandhora-41, Return of Toofan Mail-42, Mehmaan-42, Fariyaad-42, Armaan-42, Gauri-43, Bansari-43, Pehle Aap-44, Jwar Bhata-44, Sanyasi-45, Laaj-46, Samrat Ashok-47 and Sindoor-47. She also sang about 30 songs in 11 films.
After partition, she migrated to Pakistan with the family. There, she acted in 8 films- 6 Urdu and 2 Punjabi. her first film Shahida-49 was a hit film and ncelebrated Silver jubilee. Even, Do Ansoo-50 and Ghulam-53 were hit films. Shamim married Producer/Director Anwar Kemal Pasha. Shamim died on 23-10-1982 in Lahore. Shamim was niece of actress singer Khursheed Begum. Shamim’s younger sister Naseem was also an actress in India, but she died quite young, on 17-11-1946 at Bombay, in India only.
Actor Hari Shivdasani- father of actress Babita- was born on 4-12-1910 at Hyderabad-Sindh. He went to England and Germany for education and got UFA degree from Germany in acting and direction. he was very handsome and polished. He started as a Director in film Yasmin-35, but then opted for acting only. His first film as actor was Prem Pariksha-34 which was released before Yasmin -35 as a director. in all he acted in 110 films. In his first film he even sang one song.
While in England, he married a British girl- Maria. he had 2 daughters. One of them was actress Babita who married Randhir Kapoor and they had two daughters- Karishma and Kareena. Hari Shivdasani died in 1994.
Film Return of Toofan mail-42 was directed by Aspi Irani,who was basically famous for stunt and C grade films. Aspi Irani was an important director from the early films.His full name was ASPANDIAR HORMUSJI IRANI.He was born in the Parsi colony, Panch Gardens in Dadar,Bombay on 8-10-1911. He started work in the film industry after he completed his secondary schooling and as all parsis are,due to his hard work,he soon attained a top rank in the Industry.He started directing films from 1936,the early Talkie stage,when the influence of Parsi Theatre,fantasies and dramas on folklore was the staple of stunt films.All such films had a basic structure and with a little changes here and there new films hit the screens.
There was a fixed audience for such films, but as the time went by,slowly the taste of the audience changed.However Aspi Irani continued with his style till the end.He did direct few social films also but the handling of social films had a clear stamp of Aspi’s direction.
He must have directed about 50-55 films till the early 80s. Some of his films were,Naya paisa,qaidi no.911,Barood, Shabnam, Baadal etc. He was married to actress Husn Bano ( daughter of actress Shareefa).
On a fine morning on 23rd November 1986, Aspi left his home in the morning for work and never ever returned. No one knows what happened to him. Since then there was no trace of this man and officially he was declared ‘missing since 23-11-1986′. What an end to a legend !
The story of film Return of Toofan mail was…
Diwan Randhir, as a Night Rider ” Toofan mail ” has saved the kingdom from a Tyrrant, some years back. Now he is looking after the kingdom’s heir- Kirti kumar- since last 15 years. Kirti is sent to England for further studies. Meanwhile the army’s Captain kishori takes over and starts his terror reign. The prince is about to come back and Kishori is waiting to kill him.
Randhir sends his daughter Hansa to warn the Prince but she is captured by army. Kirti has, however, arrived before time and is safe. he wants to see the kingdom’s condition incognito, so he dons the attire like Toofan Mail. On his way, he meets Hansa who is escaping from the soldiers. promptly, they fall in love and sing few songs.
From Hansa he knows all happenings. He does not reveal his identity and as prince tries to flirt with her, which she deplores. Kishori wants to kill Diwan and captures him, but a masked person attacks and takes away Diwan to safety. Kishori hold Hansa captive and demands she marry him or else he will kill the Prince. By now, Hansa knows that the Prince is Toofan mail. To save his life, she agrees to marry Kishori.On the day of marriage Toofan mail rides there and runs away with the bride. Kishori fights with him and gets killed. All is well in the end . Prince, Hansa, Diwan, the Janata of kingdom and the audience in the cinema hall, are all happy.
Today’s song is a raunchy song, sung in a theatre. The lyrics are quite lewd and suggestive. They are written by Pt. Indra. The song is sung by Brijmala, Mehendi Raja and Rewa shankar (who himself was a Music Director and singer in early era of Talkie). With this song film Return of Toofan mail-42 and singers Mehendi Raja and Rewa Shankar make their debut on the Blog.
Song- Abhi Chhoti hoon baalam jawaan hone de (Return of Toofaan Mail)(1942) Singers- Brijmala, Mehendi Raja,Rewa Shankar, Lyricist- Pt. Indra, MD- Gyan Dutt
Lyrics
ui maa
ui maa
ui maa
ui maa
ui maa
Abhi Chhoti hoon baalam
Abhi Chhoti hoon baalam
jawaan hone de
Abhi Chhoti hoon baalam
Abhi Chhoti hoon baalam
jawaan hone de
zara sejon ka saajan saamaan hone de
zara sejon ka saajan saamaan hone de
Abhi Chhoti hoon baalam
jawaan hone de
main na jaanoon jawaani ki baaten abhi
main na jaanoon jawaani ki baaten abhi
meri kat’ti akeli ki raaten abhi
meri kat’ti akeli ki raaten abhi
Abhi chunri ka palla sambhaal sakoon na
Abhi chunri ka palla sambhaal sakoon naa
abhi aankhon mein aankhen main daal sakoon na
abhi aankhon mein aankhen main daal sakoon na
zara teeron ki tirchhi kamaan hone de
zara teeron ki tirchhi kamaan hone de
Abhi Chhoti hoon baalam
jawaan hone de
Abhi Chhoti hoon baalam
jawaan hone de
mera bachpan machalta hai jaane ko ab
mera bachpan machalta hai jaane ko ab
mera joban uchhalta hai aane ko ab
mera joban uchhalta hai aane ko ab
meri aankhon mein chhaayi hai naadaaniyaan
mujhpe hoti hain sabki meharbaaniyaan
meri aankhon mein chhaayi hai naadaaniyaan
mujhpe hoti hain sabki meharbaaniyaan
mere dil men
mere dil mein kisi ko mehmaan hone de
mere dil mein kisi ko mehmaan hone de
abhi chhoti hoon
haay abhi chhoti hoon
abhi chhoti hoon
Abhi Chhoti hoon baalam
jawaan hone de
Abhi Chhoti hoon baalam
jawaan hone de
Zara dheere ho zara dheere
Posted on: November 26, 2018
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3783 | Post No. : | 14765 |
With the advent of talkies in 1931, many new actors joined the Hindi film industry in the 1930s in addition to those who had switched over from silent films. While some actors became successful and remained active in the film industry for a long time, an overwhelming majority of actors could not be sustained for longer period in the film industry. Within this category, there were some actors who became successful in their initial stages of the filmy career, but lost the momentum of success in their later stage. While they remained active in the film industry for reasonable period, they went into oblivion and thus forgotten after the end of their filmy career.
Rama Shukul was one of such actors who despite talent and age on his side could remain active only for a decade or so. Thereafter he made some sporadic appearances films in minor roles for about another decade. Today, he has been forgotten to such an extent that no basic information about him is available on the internet other than his incomplete filmography. Luckily, I could lay my hand on an article written by Hyacinth (pseudo name of Susheela Rani) on Rama Shukul in Filmindia magazine (September 1942) based on her inter-actions with him sometime in 1942. I could also update his filmography and other information from various issues of Filmindia magazines of 1938 to 1949 and thereafter from the website, myswar.co. I also watched his four films – ‘Bhabhi’ (1938), ‘Navjeevan’ (1939), ‘Durga’ (1939) and ‘Aazaad’ (1940) which are available online to get a feel of his acting. I found Rama Shukul to be a natural actor. He looked like a seasoned actor even in his first film ‘Bhabhi’ (1938).
Rama Shukul was born in Jabalpur to Badri Prasad Shukul and Sushila Shukul in a wealthy family. His father was the District Superintendent of Police in Central Province (presently the parts of Madhya Pradesh, Chhatishgarh, Odisha and Maharashtra). Rama Shukul was the only son and therefore was pampered a lot by his father. Whenever his father was transferred, he would take with him Rama Shukul. As a result, his education was affected. He completed his Matriculation and was enrolled in Robertson College, Jabalpur for graduate study. The pampering of his father was such an extent that he gifted a car for his son to travel to the college. The whole idea of his father was to keep Rama Shukul interested in studies. However, he was more interested in sports and acting than the studies.
Rama Shukul was the college champion for three years in a row in tennis and was in the college teams for cricket, hockey and volleyball. In 1935, he participated in the Inter-Collegiate Drama Competition at Banaras Hindu University where he received the trophy for the best actor in the role of Hamlet in the drama. His father wanted to send him to England for ICS or for becoming a barrister. But Rama Shukul could barely complete his Senior Cambridge. Looking at his son’s interest in sports, his father arranged for a job for him as an Assistand Director of Physical Culture in the State at Nagpur. But the young Rama Shukul refused to accept the job saying that he was going to become a film actor. His father lost all hopes of shaping his bright career.
In 1938, Rama Shukul came to Bombay (Mumbai) to pursue an acting career in the films. But to get into the film studios, one must have reference but Rama Shukul did not have any in Mumbai. He had one friend in Mumbai, Fazal Chinoy. His father, Sir Rahimtula Chinoy was the promoter of the Indian Radio Company and the Director of the Imperial Bank of India (now State Bank of India). He was also a former member of the Indian Legislature Assembly. With his influence, Rama Shukul could get an appointment with Sir Richard Temple, the Managing Director of Bombay Talkies.
Sir Richard was impressed with his educational background. He introduced Rama Shukul to Himanshu Rai who agreed to take him as an actor. He signed a contract with Bombay Talkies in September 1938 and made it to ‘Bhabhi’ (1938) as his first film in a villainous role. The film was a box office success. In the film’s review published in ‘Filmindia’, Baburao Patel praised his acting by saying that ‘Rama Shukul is a good addition to the Indian screen. In the role of Anupam – the main obstacle in the whole scheme, he turns out to be a successful nuisance’.
Rama Shukul worked for Bombay Talkies for about 2 years during which time he acted in lead roles with Hansa Wadkar in ‘Navjeevan’ (1939) and with Devika Rani and Hansa Wadkar in ‘Durga’ (1939). In ‘Aazaad’ (1940), though Ashok Kumar and Leela Chitnis had lead roles, it was Rama Shukul pairing with Hansa Wadkar who had major presence in the film.
When he was to work opposite Devika Rani in his 5th film in Bombay Talkies, Himanshu Rai died. His death was a great shock to Rama Shukul due to his personal attachment. He was regarded as a blue-eyed boy of Himanshu Rai. Many in the Bombay Talkies had developed dislike for him as they felt that he was pampered by the boss of the Bombay Talkies. In this milieu, Rama Shukul could not continue in the Bombay Talkies for long.
His next destination was Ranjit Movietone where he acted in the second lead role in ‘Iqraar’(1942). This was followed by ‘Mehmaan’ (1942), ‘Fariyaad’ (1942) and ‘Dukh Sukh’ (1942). However, none of these films made much impact on the box office front. From 1943, he became a free-lance artist and acted in the second lead in Ramnik Productions’ ‘Dulhan’ (1943), ‘Kiran’ (1944), and ‘Gaon Ki Gori’ (1945).
By this time, his status as an actor seems to have come down from second lead actor to one among the supporting actors. In this category, he worked in Filmistan’s ‘Eight Days’ (1946) and ‘Shikari’ (1946). This was followed by ‘Mulaaqat’ (1947), ‘Shikaayat’ (1948) and ‘Meherbaani’ (1950).
After 1950, the filmy assignments of Rama Shukul seem to have dwindled significantly. His name started appearing in ‘other actors’ like in ‘Shamsheer’ (1953), ‘Sardaar’ (1955) and ‘Sitaaron Se Aage’ (1958). ‘Madhu’ (1959) was Rama Shukul’s last film as an actor when he may be around 45 years of age. I could not get any information as to how he spent rest of his life after 1959.
Despite being recognised as one of the fine actors of the 1940s, Rama Shukul had an active filmy career of about 10 years (1938-48). During his entire career, he acted in 20 films.
I am presenting ‘zara dheere ho zara dheere’ from ‘Mehmaan’ (1942) sung by Shamim Bano and Rama Shukul. The song is written by Pandit Indra and is set to music by Khemchand Prakash. This duet is actor-singer songs and is the 5th song to appear in the Blog.
Although HFGK credits the male voice in the song to Rama Shukul, in my view, it may not be his voice when I compare his voice in the songs in ‘Navjeevan’ (1939) and ‘Durga’ (1939). My hunch is that the male voice in this song may be of Bulo C Rani based on his rendition of ‘rootthna pyaar mein karwat ka badal jaana hai’ from the same film. I request the opinions from the experts on my presumption.
For the time being, however, I have retained the name of Rama Shukul as the male singer in the video caption of the song.
I find this song a sweet expression of love.
Song-Zara dheere ho zara dheere(Mehmaan)(1942) Singers-Shamim Bano, Rama Sukul, Lyrics-Pt Indra Chandra, MD-Khemchand Prakash
Both
Lyrics
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
saajanwa
saajaniya
saajanwa
saajaniya
zara dheere dheere
zara dheere dheere
jhoola na ho
mora naazuk jiya behlaana
o mora naazuk jiya behalaana
zara dheere ho zara dheere
zara dheere ho zara dheere
chunariya hamaari hawa ho gayi
nazariya tumhaari dawa ho gayi
chunariya hamaari hawa ho gayi
nazariya tumhaari dawa ho gayi
ye champa chameli rahi kyun akeli
bataao zara morey shyaam
ye champa chameli rahi kyun akeli
bataao zara morey shyaam
saajanwa
saajaniya
saajanwa
saajaniya
zara dheere dheere
zara dheere dheere
jhoola na ho
mora nazuk jiya behlaana
o mora najuk jiya behalaana
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
Haseenon ko kar lo salaam
Posted on: October 6, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3732 | Post No. : | 14677 |
“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
The movie had twelve songs in it. Five songs from this movie have been discussed in the past. Here is the sixth song song from “Garib”(1942) to appear in the blog. This song is sung by Surendra. Pt Indra Chandra is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available but it is clear that this “expression of love” song was picturised on Surendra himself.
Song-Haseenon ko karlo salaam (Garib)(1942) Singer-Surendra, Lyrics-Pt Indra, MD-Anil Biswas
Lyrics
o haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam more raaja
haseenon ko kar lo salaam
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
aankh lag jaaye to bas jaao wahin
dil machal jaaye to mit jaao wahin
zara kar lo shaheedon mein naam
zara kar lo shaheedon mein naam
naam
naam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
husn waale salaamat hain apne yahaan
husn waale salaamat hain apne yahaan
wo hamen chhod kar aur jaayen kahaan
wo hamen chhod kar aur jaayen kahaan
roz khali hai apna mukaam
roz khaali hai apna mukaam
mukaam
mukaam more raaja
haseenon ko kar lo salaam
salaam more raaja
haseenon ko kar lo salaam
salaam
salaam
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3710 | Post No. : | 14637 |
“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma Bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.
This movie had ten songs in it. Two songs have been covered in the past.
Here is the third song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade and Rati Kumar Vyas. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
Only the audio of this rare “expression of love” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
I have not been able to get a few words right in the lyrics. I request readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, Rati Kumar Vyas makes his debut in the blog as a singer. I request our knowledgeable readers to throw light on this singer.
Song-Ho saloni naari tere roop ka jagat bhikaari(Wo Zamaana)(1947) Singers-Mohantara Talpade, Rati Kumar Vyas, Lyrics-Pt Indra Chandra, MD-Bulo C Rani
Lyrics
hey ae ae ae ae
ae ae ae ae ae ae
ae ae ae
ae ae ae
hey ae ae ae
saajan to teekha bhala
ae ae
jyon barse talwaar
ae ae ae ae
paani jiska dekh kar
haaye chhup jaaye sansaar
ae ae ae ae
ae ae ae
ae ae ae ae
ae ae ae ae
ae
naari to baanki bhali
jaise dhanush kamaan
ae ae ae ae
tirchhe chitwan
baan pe ae
ae
isi se karat nishaan
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
jab se geet sunaaya tumne
jab se geet sunaaya tumne
pad gayi koyal kaali
kaali
kook kook kar
kook kook kar
deti tujhko
?? adharon se gaali
gaali
manhaari
matwaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
kaliyon ka ras rang churaaya
kaliyon ka ras rang churaaya
bhav ?? uthhe man mein
man mein
nain raseele
nain raseele
dekh tihaare
hirni bhaagi van mein
van mein
balihaari
balihaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
Main parwat khadi pukaaroon
Posted on: September 8, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3704 | Post No. : | 14627 |
“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.
This movie had ten obscure songs in it. One song has been covered in the past
Here is the second song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
Only the audio of this “calling the beloved” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Song-Main parwat khadi pukaaroon (Wo Zamaana)(1947) Singer-Mohantara Talpade, Lyrics-Pt Indra, MD-Bulo C Rani
Lyrics
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
sajanva aa aa re
balamva aa aa re
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
tum aao to mere man ki maina bole ae bole
tum aao to mere man ki maina bole ae bole
main preet ka jaadoo daaroon
balamva aa aa re
sajanva aa aa re
main preet ka jaadoo daaroon
balamva aa aa re
balamva aa aa re
kya karoon kya karoon
kya karoon kya karoon
kya karoon
preet meri laaj ka ghoonghat khole ae khole
kya karoon
preet meri laaj ka ghoonghat khole ae khole
lo suno
jiya mora piya piya piya bole ae bole
lo suno
jiya mora piya piya piya bole ae bole
main kaise tujhe bisaaroon
balamva aa aa re
sajanva aa aa re
main kaise tujhe bisaaroon
balamva aa aa re
balamva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
Tere banenge bigde kaam
Posted on: July 26, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3660 | Post No. : | 14526 |
“Aangan”(1959) was directed by O P Datta. This movie had Rehman, Amita, Chand Usmani, Agha, Leela Mishra, Gulab, Badri Prasad, Indira Bansal, Ramavtar, Sabita Chatterji, Vijaybala, Jugnu, Kesarbai, Bazid Khan, Shantaram, Prijbhushan, Master Raja etc in it.
The movie had nine songs in it that were penned by three lyricists.
Two songs have been covered in the past. Here is the third song from this movie to appear in the blog. This song is sung by Manna Dey and chorus. Pt Indra Chandra is the lyricist. Music is composed by Roshan.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this bhajan.
Song-Tere banenge bigde kaam ho sun bhai aatmaaraam(Aangan)(1959) Singer-Manna Dey, Lyrics-Pt India India, MD-Roshan
Chorus
Manna Dey +Chorus
Lyrics
tere banenge bigde kaam
ho sun bhai aatmaaraam
tu kar le chaaron dhaam
ho sun bhai aatmaaraam
idhar hai ganga udhar himalay
beech mein badrinath
bolo bhai badrinath ki jai
dharm arth aur kaam moksh
chaaron phal inke saath ho
tere banenge bigde kaam
tere banenge bigde kaam
ho sun bhai aatma raam
jo koi paave jagannath ka
jootha bhaat prasaad ho
jootha bhaat prasaad ho
bolo bhai jagannath ki jai
chala jaaye baikunth ko seedha
koi na pakde haath ho
koi na pakde haath ho
tu bhaj le raadhe shyaam
tu bhaj le raadheshyam
ho sun bhai aatmaraam
dakshin desh rame rameshvar
mandir khambh hazaar ho
mandir khambh hazaar ho
bolo bhai shiv shankar ki jai
visvanath viswambher shankar
bhaje to beda par ho
bhaje to beda par ho
le in charnon ko thhaam
le in charnon ko thhaam
ho sun bhai aatmaraam
sone ki ye puri dwarka
man aanand badhaaye ho
man aanand badhaaye ho
bolo bhai krishanchandr ki jai
baanjh hari ho jaaye daadi
pota god khilaaye ho
pota god khilaaye ho
kul badhe amar ho naam
kul badhe amar ho naam
ho sun bhai aatmaaraam
tere banenege bigde kaam
ho sun bhai aatmaram
raam ji raam
ho sun bhai aatmaraam
- In: 10th Anniversary Celebration Song | Anil Biswas Solo Songs | Anil Biswas Songs | Devnagri script lyrics by Sudhir | Free Spirit Song | Guest posts | Journey Song | Lyrics contributed by readers | MD-Singer Song | philosophical song | Post by Mahesh Mamadapur | Song of 1939 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 20 Comments
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3647 | Post No. : | 14481 |
ASAD 10th Anniversary Celebrations – 3
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“A journey of a thousand miles begins with a single step.”
– Lao Tzu
main akela hi chala tha janib e manzil magar
log saath aate gaye aur karwaan banta gaya
– Majhrooh Sultanpuri
On 19 July 2008, a single step was taken by our Atul ji, the day on which the first song was posted on the blog. It was followed by yet another Roshan number the next day and the journey continues to this date and beyond, much akin to the above sh’er by Majhrooh Saab.
Looking back at the last decade, there is a deep sense of excitement and contention amongst all readers and especially the important contributors. However what is equally true is that the responsibilities and the hope of tracing and introducing obscure songs has only increased. This hope itself is the proof of the immense popularity that the blog enjoys all over the world. I am sure the blog has become a one-stop destination for all readers in search for old Hindi songs and the correct and reliable information that it serves and continues to provide. About 4000 movies and nearly 15,000 songs covered, the blog has a visitors hits number of more than 10.5 million. Mind-blogging numbers indeed and one can only feel proud of being a part of this great musical extravaganza.
Since it is a special occasion of a decade of the blog’s existence, I suppose, I am at liberty to write a few words about my association with it.
Old Hindi Film songs were a common feature in my house, especially with SLBC and its special program ‘purani filmon ka sangeet’, which is played to this day and to which I am addicted to this day (ask our whatsapp group 🙂 ). With the advent of internet facility, the hobby of listening and gathering information naturally started dominating the searches. And, for people with music interest this blog was a no-escape and also a welcome addiction.
In the initial days, I just tried to absorb and admire the contents. It was not long that the longing to be a part of the blog started to grow. A few comments and corrections here and there started. Seeing that a lot of songs known to self were yet to be represented, I toyed with the idea of sending the lyrics. I ended up sending lyrics for 3-4 songs, but the greed to get more involved did not stop.
It was then that I starting writing posts. After a few posts and with the ideas and plots for writing posts difficult to come by, I started a mini-series on Mukesh and his composers. There is a small contribution of self in this series with 14 posts and 04 posts in another series titled Mukesh and his co-singers. Apart from the posts on Mukesh, I feel proud to have written about Rafi saab, Talat saab and Lata Mangeshkar. There are individual posts on Shamshad Begum, Uma Devi, etc. I have also written about Ghulam Mohammed and Shankar Jaikishan whose compositions, I enjoy immensely.
Of the 30 odd posts, “Sab Thhaath Pada Reh Jaavegaa” has had a great influence on me and especially the verses.
jo paaya hai wo baant ke kha
kangaal na kar kangaal na ho o
jo sab ka haal kiya toone
ek roz wo tera haal na ho o
is haath se de us haath se le
ho jaave sukhi ye jag saara
There was time when some songs of Mukesh were not to my liking. This view is particularly for a few songs at the fag end of his career wherein you find him singing all types of songs without the Midas touch of late 1940’s and 1950’s. Not having understood the lyrics properly, I had counted the above song also in that category. However, while writing the post and especially after Sudhir ji’s English translation, the song seems to be nothing short of philosophy of life that one must follow.
And then, “Lo Mil Gayi Degree Pyaar Ki” had its own story before it was put up as a post. A virtual Kishore Kumar solo was converted into a Mukesh post just because he had two words in the song. It was the last song of Mukesh-Roshan to be introduced to the blog and there was no way, I could lose the opportunity. Many eminent personalities were contacted who held different views on how Mukesh could fit in as he was not part of the movie etc.
Lastly, “Gokul Nagri Jaana” remains the oldest song sung by Mukesh on the blog. I have special memories of writing this post, as I was aware that I had touched upon a gold mine of 06 special songs of his career. Two of them remain untraced to date, but then there have been many surprises on this blog and I am sure all six will be accounted for.
The past year has been hectic for me from job and work point of view. However, with this post, I have barely managed to avoid the guilt of not having contributed for an entire year. I expect saner time allotment for this hobby again.
Coming back to the blog, I consider the following to be a few unique and unparalleled aspects about it.
- Accuracy and authenticity of the contents
- Complete and correct lyrics
- Responsible, authoritative and sound contributors
- The classification and arrangement of songs under various heads
- Easy accessibility of information on Hindi songs
- Common platform for like-minded Hindi songs enthusiasts
- Due recognition and importance accorded to various artists
- Accurate statistics of songs and artists contribution.
There could more important USP’s of the blog; however, the following two aspects are also quite important.
- Opportunity for contributors to pen their thoughts on the blog
- A unique friendship circle amongst the regulars
I think every reader and especially the contributors can never thank Atul ji and Sudhir ji enough, to acknowledge and appreciate the opportunity given to us to pen down our thoughts and represent songs on the blog. This is a very selfless and noble deed of Atul ji. Like-minded people met online on this blog and started a very special and unique circle, with quite a few sessions, visits etc. A whatsapp group is also formed with a few of the regulars and is more active than the blog itself now. 🙂
For me personally, the opportunity to interact with Mr. Harish Raghuwanshi ji was a great personal fulfilment. He has always helped me with my lists in the posts and also with information which would have been nearly impossible to trace elsewhere. Similarly, being in touch with eminent film historians and authors and knowledgeable personalities such as Shri Arun Kumarji, Harmandir Singh ji and many others has added new dimensions to our lives. In a fast moving world with technological advances, catching up with matters of yesteryears is so soothing and heart fulfilling. When we talk of ‘good old days’, here is a platform that binds us together.
Coming back to the series on Mukesh, a sort of regret that will always remain with me is not having a post on the collaboration of Mukesh with composer Anil Biswas. People fond of Hindi music need no explanation to elaborate the influence of Anil Da and stepping stone in Mukesh’s singing career with reference to “Dil Jaltaa Hai To Jalne De”. Of the 22 odd songs that Mukesh sang for Anil Da, all have been covered on the blog. Not to give a sense of false hope, I would like to clarify that the song that I am presenting here today has nothing to do with Mukesh.
Instead, I would like to write on Anil Biswas.
What can one write about the ‘Bhishm Pitamah’ of Hindi film music that has not been written earlier. A pioneer of playback singing in India and the composer who gave the initial breaks to singers like Parul Ghosh, Meena Kapoor, Mukesh, Talat Mahmood, Sudha Malhotra etc. He is credited with coaching Lata Mangeshkar with breath control techniques during recording of songs. Begum Akhtar’s timeless classics in the film ‘Roti’ (1942) were scored by him. Mukesh, Talat Mahmood, Suraiya et al have sung several of their classic songs under his composition. Lata having sung under various composers has a lot of numbers under his composition too and these songs will always remain on a higher plane. The fame achieved by the songs in ‘Kismet’ (1943) will be discussed and mentioned for a very long time.
There is enough material on the net on Anil Biswas, his life in Mumbai and Delhi, the many pioneering aspects of his compositions, how the mighty composers of later-years were his assistants earlier etc. And then there is also a detailed wikipage dedicated to him. However, I would like to draw the attention of readers to AK ji’s blog songsofyore.com.
Seventh of July, last week was the birth anniversary of Anil Da. Four years back, 2014 was his centenary year and the AK ji’s blog has a wide range of tributes and had dedicated an entire year on Anil Biswas starting with his daughter’s introductory post which one can find here. The eighth and last post on this special series can be found here.
The last post referred above also contains in its first paragraph links to the other six posts on Anil Biswas posted in his centenary year. I think die-hard fans of Anil Da can look no further than these posts to enjoy the complete range of his compositions for various artists and well himself.
Yes, he did sing for himself and I present here one such song composed and also sung by him.
I have no words to express my happiness in writing this post and introducing the song composed as well as sung by Anil Biswas to the blog. The immense gratitude to Atul ji and Sudhir ji for giving me yet another opportunity to write goes without saying.
This solo song is from the film ‘Ek Hi Raasta’ (1939). Only one of the potential twelve songs in the film has been posted on the blog so far and this is only the second song from the film to be posted.
To conclude the post, I once again congratulate Atul ji and Sudhir ji on this stupendous achievement of one decade of existence of the blog. There is a long way to go and many more milestones to be achieved. As we complete one decade of existence and march into the second, then to silver jubilee and beyond, the journey itself has become the destination for Atulites.
Long live the music of vintage and golden era, long live the passion of Atulites and long live the longevity of the blog. 🙂
Song – Bhai Hum Pardesi Log Hamen Kaun Jaane (Ek Hi Raasta) (1939) Singer – Anil Biswas, Lyrics – Pt Indra Chandra, MD – Anil Biswas
Lyrics
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane
na koi apna na koi apni..ee..ee
sabhi paraaye log
na koi apna na koi apni
sabhi paraye log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun jaane
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
chaahe bane diwaane re bhai
chaahe bane diwaane re bhai
hum pardesi log
hamen kaun jaane
sab se milte phir bhi akele..ey..ey
sab se milte phir bhi akele..ey..ey
apne dil ka rog
apne dil ka rog
koi kya jaane re bhai
koi kya jaane re
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane
na koi apna na koi apni
sabhi paraaye log
na koi apna na koi apni
sabhi paraaye log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun pehchaane re
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi lo..o..ogg
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Devnagri script lyrics (Provided by Sudhir)
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भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी॰॰ई॰॰ई
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने
खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
चाहे बने दीवाने रे भाई
चाहे बने दीवाने रे भाई
हम परदेसी लोग
हमें कौन जाने
सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
अपने दिल का रोग
अपने दिल का रोग
कोई क्या जाने रे भाई
कोई क्या जाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लो॰॰ओ॰॰ओग
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