Posts Tagged ‘Saraswati Kumar Deepak’
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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 : |
5535 | Post No. : | 17993 |
Today’s song is from a religious film Prabhu ki Maya (1955).
This film was made by the well known Filmistan studios. It was directed by Vithaldas Panchotiya and the Music Director was Ravi Shankar, for whom it was his only second movie as an independent composer. He went on to do 112 Hindi films composing 796 songs. He also sang 21 songs in 18 films and in addition wrote66 songs in 21 films as a Lyricist. So, what remained was Acting and Directing a film, which he never tried ! He also had a stint as an MD in Malayalam Films with the name ” Bombay Ravi “.
Mythology and Religion are two things which are very popular throughout the world. Not only in India, but all over the world, except probably the Communist countries, where Religion is considered as a Tablet of Opium ! There was a time when many Mythological and Religious films were made in India, but these days this Genre Seems to have shifted to television and almost all Indian language TV stations air the Mythological and Religious serials. The kind of TRP Ramayan and Mahabharat got on TV indicates that the medium has changed but the response of Indians has not changed towards religion. It is not just we Indians who like this Genre, even in older times Hollywood used to make such films. During my World Tour in the early 2000, I had noticed that even in Japan and the Far East they made their Mythological and Religious films.
Fundamentally, Indian people are simple people who are God fearing and God loving. Indian public never gets tired of the routine.Films on Love Triangle are being made since 1931 till today though by repackaging them differently in keeping with the changing times. Though the final outcome is predictable and very well known to the viewers, these films still celebrate jubilees in the Theatres !
Similarly, all Mythological films are based on the principle of ” Satyamev jayate” or “Victory of good over the Evil”. Each film presents it in different ‘dressing’ and different routes. The fights of the Gods and the Rakshasas are very interesting, because of lot of firework (literally and figuratively), Trick scenes and unimaginable get-ups of the Rakshasas ( like only one eye on the forehead, or half animal body or simply an ugly looking Giant etc ). In olden days, I remember that there used to be loud rants of “Jai Shri Ram ” or ” Har Har Mahadev” within the theatre at the end of the movie- depending on who the main God of the film was.
But then, who are these Asurs, daitya or the Rakshasas ?
Their literary origins can be traced to Vedic sources through Hymn 87 of the tenth mandala of the Rig Veda. Here they are classified amongst the Yatudhanas, demonic creatures who consume the flesh of humans. It is said that Rakshasas were created from the breath of Brahma when he was asleep at the end of the Satya Yuga. As soon as they were created, they were so filled with bloodlust that they started eating Brahma himself. Brahma shouted “Rakshama!” (Sanskrit for “protect me!”) and Vishnu came to his aid, banishing to Earth all Rakshasas (thus named after Brahma’s cry for help).
The tracing back to Kashyapa is not necessarily a later edit, but is not mentioned in the dense Hymns of the Vedas because of poetic choice. The knowledge of the Rakshasa lineage traceable to Kashyapa may have been known at the time of the compilation of the Vedas, but lineages are altogether foreign from the style of the Vedas and thus would have appeared out of place. That is why the Puranas and Epics elaborate on lineages, but Vedas do not.
Kashyapa was married to the thirteen daughters of Daksha, among them were Aditi, Diti and Danu.
His sons with Danu are the Danavas
His sons with Diti are the Daityas
His sons with Aditi are the Adityas, who are considered Devas and are also called Suras.
Rakshasa were most often depicted as ugly, fierce-looking and enormous creatures with two fangs protruding down from the top of the mouth as well as sharp, claw-like fingernails. They are shown as being mean, growling like beasts and as insatiable cannibals who could smell the scent of flesh. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood with their palms or from a human skull (similar to vampires in later Western mythology). Generally they could fly, vanish, and had Mayaawi shakti (magical powers of illusion), which enabled them to change size at will and assume the form of any creature.
Aside from its treatment of unnamed rank-and-file Rakshasas, the epic tells the stories of certain members of the race who rose to prominence, some of them as heroes, most of them as villains. In the world of the Ramayana and Mahabharata, Rakshasas were a populous race of supernatural humanoids. There were both good and evil rakshasas, and as warriors they fought alongside the armies of both good and evil. They were powerful warriors, expert magicians and illusionists. As shape-changers, they could assume various physical forms, and it was not always clear whether they had a true or natural form. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the rakshasas were said to be man-eaters, and made their gleeful appearance when the slaughter on the battlefield was at its worst. Occasionally they served as rank-and-file soldiers in the service of one or the other warlord.
As far as Religious films are concerned, there is no dearth of stories. During the Bhakti Movement in India, right from the 6th century it originated in Tamilnadu and spread all over. Its peak period was between the 15th and 17th Century. Though it was primarily to invoke the feelings among the natives to fight aggressors to save our culture and religion, it also provided abundant material for books, dramas, Kirtans and finally films, getting inspiration from the lives of the saints of this period. Today’s film is a Religious film mixing a little of Mythology. The story of the film ” Prabhu Ki Maya” (1955) was…..
A landlord is weeping as his son has died of Snake Bite. By coincidence, Swami Atmanand is passing by. Seeing the plight of the father, he revives his son and advises the landlord not to get involved in worldly affairs and lead a detached life like Shukdev. Upon asking about the story, Swami tells the story.
Instigated and coaxed by Narada, Parvati goes to Shiv ji and requests to learn the secret of Amaratva (immortality),so that she can become Amar too. Shivji,in a good mood then, narrates the Tatva to her, but in the long discourse Parvati falls asleep and the rest of the tatva is heard by a small bird-Shukdev. When Shiv ji learns about this, he wants to destroy Shukdev. Terrified, Shukdev enters the open mouth of Vyas Muni’s wife, when she is yawning. Once inside ,he remains safe for 12 years.It takes a birth and immediately flies away in search of Bramhagyan. Narada takes him to Vyas Muni,who teaches him and then takes him to King Janaka. While in transit Shukdev sees a Lion, killed by king Parikshit get salvation by listening to Shrimad Bhagwat. A thirsty King Parikshit goes to Shyamak muni’s ashram and asks for water. Since the Muni is in samadhi, he does not respond,so irritated, king Parikshit puts a dead snake in his neck. This is seen by Muni’s son and he curses Parikshit. To get rid of the curse he goes to Ganga maiya who sends him to Shuk Dev. After listening to Shrimad Bhagwat from Shukdev, King Parikshit goes to heaven freed from the curse.
The film emphasises the need for everyone to read Shrimad Bhagwat daily for total salvation.
The director of this film was Vithaldas Panchotiya ( Born 15 October 1906-Died 2 October 1987 ). Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.
Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in the silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.
Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.
I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )
Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-
11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.
From 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on Mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.
His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.
Today’s song is sung by Hemant Kumar, Asha Bhosle and Chorus. Enjoy the song….
Audio
Video
Song-Chalo dene ko badhaai guru aangan mein (Prabhu Ki Maaya)(1955) Singers- Hemant Kumar, Asha Bhosle, Lyricist-Saraswati Kumar Deepak, MD- Ravi
All chorus
Female chorus
Lyrics
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
dekho din albela aaya re
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein man harshaaya re
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae
man ka moti jag ki jyoti
teen lok se nyaaraa
bhaag jaaane sukh barsaane
aaya sabka pyaara
dwaar dwaar par baji badhaayi
chau dishaaon ne gaaya re
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
chalo dene ko badhaayi guru aangan mein
ghar pragat bhayo awtaar
shubh din aayo re
ae ae ae ae ae
angna mein jhan jhan chhanke paayaliya
baadal bajaaye mridang re
ae ae ae
san san pawan ki baaji ??
aa aa aa
?? gagan ke rang re
ae ae ae ae
solah baras mein aasha ne aakar
ye shubh din dikhlaaya re ae ae
din aaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
shubh din aaya
sabhi ke man bhaaya
kirnon ne raas rachaaya re ae ae
dekho din albela aaya re
aaj angna mein mangal chhaaya re
dekho din albela aaya re
aaj angna mein mangal chhaaya re
o o o o
aao hil mil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
aao mangal gaao
aayi hai aashaa jhoom jhoom ke
aao hilmil gaao
aayi hai aashaa jhoom jhoom ke
Beraham duniya kee aisee reet hai
Posted on: July 10, 2023
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 : |
5470 | Post No. : | 17889 |
“Chakravarty Vikramaditya”(1964) was a dubbed version of a Telugu movie. It was directed by Jampana for PVVSM Productions, Madras. The movie had Anjali Devi, N.T.Rama Rao, S.V.Rangarao, Kaantha Rao, Relangi, Girija,
Padmani Priyadarshini, Kuchaalaa Kumaari, Sukumari, Rajaarajeshwari, Jothee, Reetha, Lalithaa Rao etc in it.
The movie had seven songs in it. One song has been covered in the past.
Here is the second song from “Chakravarty Vikramaditya”(1964) to appear in the blog. This song is sung by Rafi. Saraswati Kumar Deepak is the lyricist. Music is composed by P Nageshwar Rao.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it is a background song, or may be song being sung by some mendicant as the Royal couple are shown getting separated, with misfortune befalling them as a result of the “berahami” of “duniya”. 🙂
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Beraham duniya kee aisee reet hai (Chakravarty Vikramaditya)(1964) Singer-Rafi, Lyrics-Saraswati Kumar Deepak, MD-P Nageshwar Rao
Lyrics(Provided by Prakashchandra)
door huyee ee ee
deepak se baatee ee ee ee
ee ee ee
bichhdey ae ae jeevan saathhee ee ee
haayye ae ae ae ae
beraham duniyaa ki aisi reet hai ae
haayye thhokarein khaatee bhataktee preet hai ae ae ae
beraham duniyaa ki aisi reet hai ae
pyaar ko badnaam kartey hain
jahaan waaley aey ae aey
tu kahaan par so rahaa
o aasmaan waaley ae ae
aansoo`on kee dhaar mein ae
doobaa milan kaa geet hai aey ae
beraham duniyaa ki aisi reet hai aey ae ae
pee milan kee aas lekar
lad rahee toofaan se jo
haayye paththar ban ke baithhaa
uske man kaa meet hai ae ae
beraham duniyaa ki aisi reet hai ae
haayye thhokarein khaatee bhataktee preet hai ae ae ae
beraham duniyaa ki aisi reet hai aey ae ae
ban gayee ee raanee bhikhaaran
zulm ye kaisaa aa aa aa aa
ban gayee raanee bhikhaaran
zulm ye kaisaa aaa aa
zubaan khoyee roop khoyaa
zulm ye kaisaa aaa
zulm ye kaisaa aa aa aa aa aa aa aa
Sabse badaa vidhhaataa
Posted on: May 23, 2023
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 : |
5422 | Post No. : | 17783 |
“Bhimsen”(1950) was directed by Jayant Desai for Mohan Pictures, Bombay. The movie had Trilok Kapoor, Nirupa Roy, Ram Singh, Rewa Shankar, Narbada Shanker, B. M. Vyas, Murad, Durga Khote etc in it.
There were nine songs in the movie according to HFGK. Three songs from the movie has been discussed in the past.
Here is the fourth song from “Bhimsen”(1950) to appear in the blog. This song is sung by Geeta Dutt , Badrinath Vyas and chorus. Saraswati Kumar Deepak is the lyricist. Music is composed by Avinash Vyas.
Only the audio of this joie de vivre song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
From the lyrics, it seems clear that the song is lip synced by the character playing Draupadi and the occasion is agyaatwaas phase of Pandavas. Pandavas are carrying out their phase of agyaatwaas.
I have not been able to get a lyrics sung by the chorus. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics.
Song-Sabse bada vidhaata (Bhimsen)(1950) Singers-Geeta Dutt, Badrinath Vyas, Lyrics-Saraswati Kumar Deepak, MD-Avinash Vyas
Lyrics(Provided by Prakashchandra)
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
teer taante hi dori par
pawan charan ruk jaata
teer taante hi dori par
pawan charan ruk jaata
noopur pahne
noopur pahne nartan karta
wahi ang lachkaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
ghodon ki rakhwaali karta
teen ved ka gyaata
ghodon ki rakhwaali karta
teen ved ka gyaata
chaand se sunder mukhde waala
baithha gaay charaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
jin haathon mein gada ghoomti
jaisa shankh bajaata
jin haathon mein gada ghoomti
jaisa shankh bajaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
sabse bada vidhaata aa aa
sabse bada vidhaata
Sajna hilmil chalna
Posted on: May 9, 2023
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 : |
5408 | Post No. : | 17743 |
#the Decade of Sixties – 1961 – 1970 #
————————————————————————
In this post we listen to a song from the movie ‘Bhagwaan Balaji-1961’.
This movie was introduced on the blog on 14.12.2013 when its song ‘Narayan ki isi murty se hoga …govinda jai govinda’ was posted on the blog.
“Bhagwaan Balaji-1961” was directed by P. Pulaiyya, B.A for ‘Padmashree Pictrues, Madras’. It had N. T. Ramarao, Savitri, and S. Varlaxmi, Shantakumari, Rishyendramani, S. Balsaraswati, Shri Gummadi, P. Suribabu, Ramna Reddy, V. Nagaiyya, Mohana, Saukar Janaki, Sandhya and others.
As per HFGK Vol-IV (1961-1970) this movie has as many as fifteen songs. All the songs for this movie were written by Saraswati Kumar ‘Deepak’. Music for this movie was composed by P. Nageshwar Rao.
S. Varlaxmi, Geeta Dutt, Mahendra Kapoor, P. Shantakumari, Asha Bhonsle, Lata Mangeshkar, Suman Kalyanpur, Madhubala Chawla, Talat Mahmood, Mohd Rafi, and Manna Dey are the singers who had given their voices to the songs in this movie.
Sources mention that this movie was a ‘dubbed version’ of the Telugu movie ‘Sri Venkateswara Mahatmyam-1960’.
Today we listen to the second song from this movie which is sung by Asha Bhonsle and Talat Mahmood.
Today 09th May’2023 is the ‘twenty-fifth’ ‘Remembrance Anniversary of the legendary singer and actor Talat Mahmood (24.02.1924 – 09.05.1998).
On this occasion we pay our tributes to Talat Mahmood and listen to this song.
Only the audio of this song is available. I would request knowledgeable readers to throw more light on this movie and its songs.
As mentioned above lyrics for the song are written by Saraswati Kumar ‘Deepak’ and music is composed by P. Nageshwar Rao.
Song-Sajnaa hilmil chalna (Bhagwan Balaji)(1961) Singer-Asha Bhonsle, Talat Mahmood, Lyrics-Saraswati Kumar Deepak, MD-P Nageshwar Rao
Lyrics
sajnaa aa aa aa
hilmil chalnaa aa aa
piyaa sang sang
mil chalnaa aa aa
sajnaa aa aa
hilmil chalnaa aa aa
anuraag bharaa
ye geet piyaa
aanand mein man
gaaye piyaa aa aa
sajnaa aa aa
hilmil chalnaa aa
sneh(?0 ke vash mein
megh maalikaa
malay pawan ke
sang lehraati
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
sneh(?) ke vash mein
megh maalikaa
malay pawan ke
sang lehraati
aa aa aa
aa aa aa
jo saritaa ki dhaaraa
ban kar
dheere dheere
bah jaati ee
sajni ee ee
hilmil chalnaa aa aa
hamen sang sang
mil chalnaa aa aa
sajni ee ee
hilmil chalnaa aa
jyoti andhere ke
parde mein ae
kaal purush ki
kathhputli ham
bhaav salone ae
jeewan bhar hon
pee le ras ki
lehar piyaa aa
pee le ras ki
lehar piyaa aa
sajnaa aa aa
hilmil chalnaa aa aa
(?) bhar
man khel rahaa hai
un kaliyon ka
bhanwaraa premi ee
dekh suhaani
raah milan ki ee
saath na bhoolen
thhehar naa paayen
prem ki dor mein
bandh ke hamen
saath mein raah mein
chalnaa hamen
chalnaa aa aa
hilmil chalnaa aa aa
Ghar aaye hamaare muniraaj
Posted on: April 17, 2023
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 : |
5386 | Post No. : | 17666 |
“Prabhu Ki Maaya”(1955) was produced and directed by Vithaldas Panchotia for Filmistan Private Limited, Bombay. This movie had Prem Adib, Vithaldas Panchotia,Mubarak,P.Kailash,Master Raj Kumar,Kanu Roy,Ram Awtar,Narbada Shanker,Chaman Puri, Paras Ram,Pande,Champaklal,Hiroo Samtani,Roop Laxmi,Koshi,Mumtaz Begum,Kanta,Sheela,Jharna, Umadevi etc in it.
“Prabhu Ki Maaya”(1955) had nine songs in it. Five songs have been covered so far.
Here is the sixth song from the movie to appear in the blog. This song is sung by Asha Bhonsle and female chorus. Saraswati Kumar Deepak is the lyricist. Music is composed by Ravi.
The song is picturised on dancer Shirley, Dancer Sheela aka Sheila Ramachandra, Master Rajkumar etc.
Lyrics of the song and other details were sent to me by Prakashchandra.
video link:
Song-Ghar aaye hamaare muniraaj (Prabhu Ki Maaya)(1955) Singer-Asha Bhonsle, Lyrics-Saraswati Kumar Deepak, MD-Ravi
Chorus
Lyrics(Provided by Prakashchandra)
(Dialogue- jaisi aagyaa)
ghar aaye hamaarey muniraaj
sajaao thaali poojan kee..eee
ghar aaye hamaarey muni raaj
sajaao thaali poojan ki
soye bhaag jagey hai/hain aen aaj
sajaao thaali poojan kee..ee
soye bhaag jagey hain aaj
sajaao thaali poojan kee
ghar aaye hamaarey muni raaj
sajaao thaali poojan ki
gangaa jal se charan pakhaarooon
gangaa jal se charan pakhaaroon
in charanon par tan man waaroon
main gagree se barsaao`ngi
rimjim saawan kee…eee…eee
ghar aaye hamaarey muni raaj ho o o ho
ghar aaye hamaarey muni raaj
keh do to main nritya dikhaaoon
main man bhaawan geet sunaaoon
o o o o o
ooo ooo
keh do to main nritya dikhaaoon
main man bhaawan geet sunaaoon
ye veenaa jhankaar sunaati
baat mere man kee..eee…eee
ghar aaye hamaarey muni raaj ho o o ho o
ghar aaye hamaarey muni raaj
ye meri poojaa sweekaaro..o
ye meri poojaa sweekaaro
dekho muni mat hamko bisaaro
ek baar to o sunn lo vaani
vaani nainan kee..eee…eee…eee
ghar aaye hamaarey muni raaj ho o o ho o
ghar aaye hamaarey muni raaj
ghar aaye hamaarey muni raaj ho o o
ghar aaye hamaarey muni raaj
ghar aaye hamaarey muni raaj ho o o
ghar aaye hamaarey muni raaj
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.
This song is the 400th song in the blog from movies released in the year 1970
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#the Decade of Sixties – 1961 – 1970 #
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Today 28th March 2023 is the ‘thirty-fifth’ ‘Remembrance Anniversary’ of a ‘multi-faceted’ personality of Hindi Film Industry. He was an actor-singer-writer-director and music composer. We are paying our tributes to Shri Nath Tripathi, better known to us as S.N. Tripathi.
He was born on 14.03.1913 and he passed away on 28th March’1988.
On this occasion I present a song from a movie where the music was composed by S.N. Tripathi.
This movie is ‘Koi Ghulam Nahin-1970’. It was directed by K. Shankar for ‘MGR Pictures, Madras’.
It had M.G. Ramchandran, Ashokan, Manohar, Cho, Jailalitha, Pandhari Bai, Jyothilakshami, Baby Rani and others.
This movie seems to be a movie dubbed in Hindi language (as also mentioned by our Respected Sudhir ji while presenting the first song from the movie on the blog on 14.03.2019.
‘Koi Ghulam Nahin-1970’ has six songs written by Saraswati Kumar ‘Deepak’ and composed by S.N. Tripathi.
Asha Bhonsle, Manna Dey, Mohd Rafi, and P. Susheela had given their voices to the songs in this movie.
For today’s presentation I have selected a song sung by Manna Dey (I was thinking for a song by Manna Dey to present since last few days). Only the audio of this song is available.
As mentioned above lyrics are by Saraswati Kumar ‘Deepak’ and music is composed by S.N. Tripathi.
I would request readers to throw more light on this movie and its songs.
Let us now listen to this song composed by S.N. Tripathi and pay our tributes to him!!!
This song is the 400th song in the blog from movies that were released in the year 1970.
Song-Ye maaya hai is maaya se kyaa paayega (Koi Ghulaam Nahin)(1970) Singer-Manna Dey, Lyrics-Saraswati Kumar Deepak,MD-S N Tripathi
Lyrics
is maaya se kya paayega
ye maaya hai
ye maaya hai ae
is maaya se kya paayega aa
raat kehti hai paagal ke
behke kadam
aise gupchup dekhti
aao na tum
raat kehti hai paagal ke
behke kadam
aise gupchup dekhti
aao na tum
khoya man
soya man
hanstaa chhup chhup
khoya man
soya man
hanstaa chhup chhup
raat tab kya kahe
jab donon gupchup
naa paaya hai
naa paayega aa
is maaya se kya paayega
bhool neeti ko
khel mein khoyaa huaa
arey chhal mein
kapat mein tu behkaa huaa
bhool neeti ko
khel mein khoyaa huaa
arey chhal mein
kapat mein tu behkaa huaa
har ore jyoti ko
lehraa de tu
har ore jyoti ko
lehraa de tu
sun aise dil ko
tod na tu
ye maaya hai
ye maaya hai ae
is maaya se kya paayega aa
kis parchhaayi mein
aise uljhaa huaa
ik raahi galat raah chaltaa huaa
kis parchhaayi mein
aise uljhaa huaa
ik raahi galat raah chaltaa huaa
arey ab meri maan le
khud ko pehchaan
ab meri maan le
khud ko pehchaan
kis dilbar se pyaar
kar baithhaa tu
ye maaya hai
ye maaya hai ae
is maaya se kya paayega aa
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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5264 | Post No. : | 17270 |
Today’s song is an interesting Trio from an old film Ghayal-1951.
The cast of the film was Sulochana Chaterjee, Shaikh Mukhtar, Geeta Bali, Jawahar Kaul, Ramsingh, p.Kailash, pesi Patel, Honey O’Brien, Yeshwant Dave, Rewa Shankar Marwadi and many more. There were 7 Lyricists for 11 songs of the film (one of them is a 2 part song). Likewise there were 6 singers. The M.D. was Gyan Dutt. All the singers were well known, except the singer ‘ Bhola’.
Many people think that Bhola was Bhola Shreshtha, the M.D., but it’s not true. This Bhola was Bulo C Rani,M.D. He joined the industry to be a singer. Khemchand Prakash gave him an opportunity to sing in the film Mehmaan-1942. Later, the same year,Gyan Dutt also gave him songs.Bulo C Rani sang 34 songs in 19 films – initial in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, from film Moorti-1944.
Bulo C Rani was a Science graduate. In those days of early cinema, most people who joined the film line were less educated and mostly from lower middle class or poor families. Not ALL of course. There were few highly educated actors, directors, MDs etc but their number was much less. Actresses like Renuka Devi, Vanmala, Nalini Tarkhad etc. were graduates. Actors like Ashok kumar and Ranjan were graduates. Artistes like Dewan Sharar, Devika rani and Shakuntala Paranjpye had International experience, they wrote books also. Director Nanubhai Vakil and actor Surendra were BA,LL.B.
Ramchandra Thakur, Producer and Director of film Ghayal-51, was also from Elite and highly educated class. He also wrote articles in magazines – before and after his film career. Ramchandra Thakur was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join the film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.
When he did not get First class, he joined Sagar Movietone, in its Marketing department. After a few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for the film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of the film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40. Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote the script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.
He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.
I do not know about the storyline of the film Ghayal-51. One of my favourite actors – Jawahar Kaul – acted in this film. He was a very handsome fellow and had an unique style of acting. It was his bad luck that he could not prosper or become “A” grade actor, as in his period the competition was severe and there were many better actors operating then.
Jawahar Kaul was born in a Nehru family on the 27th of September in the year 1927 in the place revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to portray supporting characters in big films. He made his debut while playing actor Kishor Sahu’s younger brother in the 1945’s ‘Veer Kunal’. In this year, he was seen in the role of ‘Humayun Mahawat’ in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in the flick ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.
In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, ( brother of stunt film actor Navin Yagnik), the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like Azadi Ki Raah Par, Apni Chhaya, Kathputli, Pehli Jhalak, Laal Batti, Sahib Biwi Aur Ghulam, etc. He was a legend of the Black and White Cinema. He was a superstar in the films made in the 1960s. Throughout his career, he worked only in a few selected flicks, but he was able to efficiently enrapture the audience’s attention.
Jawahar was never happy about his career- the way it went. He had wanted it to be more successful. Anyway after his last film Zalim-1980, he left acting and joined as a Production Manager with Jwala Pictures of Sandeep Sethi. After two years he became his Secretary for the next 17 years. Meanwhile he produced a film-” Agniputra “, with Mithun Chakravarti. It took a long time to finally release in 2000. Not only was it a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. He died peacefully in Andheri,Mumbai, on 15-4-2019. Till the end, he looked after his school and college ‘ Children’s welfare Centre’, nearby.
Jawahr Kaul acted in 31 films starting from a small role inGeet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.(Thanks to Beete Hue din Blog).
Like most artistes, the music Directors of the early cinema had a tough time in their later life. Music of their era and style was no longer saleable due to the changing tastes of the people. Newer and younger MDs had a tough competition themselves. Thus these oldies were helpless. Damodar Sharma became assistant to Laxmikant Pyarelal, Madholal Master started his business of making Puppets (His Joker’s puppet was used by Raj kapoor in his film ” Mera Naam Joker”), Vithaldas Panchotiya, Krishnarao Chonkar, Badri prasad, Rewa shankar Marwadi etc. started doing small roles in films to sustain life. B.R.Deodhar opened a Music school.
Rewashankar Marwadi had acted in today’s film Ghayal-1951. I tried very hard to get some information about Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.
Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Gyan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.
Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949). After 1949 only, he started acting in films.
Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of MDs as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the H-B team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available. Numbers aside, but lack of enough knowledge about the early films and artistes has led to much injustice to the Pioneers, for sure !
Today’s song is a Trio, sung by G M Durrani, Geeta Roy and Meena Kapoor along with Chorus. The song is in 2 parts recorded on one single record-on both sides. HFGK mentions it as 2 separate songs, but today’s song is the combined version running for more than 6 minutes. Durrani’s voice was suitable for soulful songs- like Talat. However personally I feel he was better than Talat, though Talat got more popular songs than him. Durrani acted in 16 films, wrote songs for 1 film (Nazare-49), gave music to 8 films composing 48 songs and sang 305 songs in 168 films.
Song- O Rani Mainavati sun mera sandesh (Ghaayal)(1951) Singer-G.M.Durrani, Geeta Roy, Meena Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Gyan Dutt
Lyrics
madan janak mrug manimay
hararararara daude
manjul vachan vilohit
?? kaaya
ahahahaha
latan tatan mrug manimay
?? sunil ??
??
?? sunil ??
??
?? sunil ??
??
O Rani Mainawati
sun mera sandesh
O raja pyaar kiya
bisra do ye des
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o duniya milne na degi
milne na degi
dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
chalo doon khanjar barchha
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
jo apna rasta rokegi
jo apna rasta rokegi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
sainyya padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
hamaari chalne na degi
hamaari chalne na degi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
bhes badal kar naar naweli
chali yaar ke sang
naak kataa kar kahaan jaayegi
?? karoon ??
daiyya o daiyya
o daiyya daiyya daiyya
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
laal ?? mein chali chhabeeli
Thakur chala ??
laal ?? mein chali chhabeeli
Thakur chala ??
yaar ke tukde kar de chaar
uthha le ?? sardaar
teri ?? hai makkaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o o paaji raajkumaar
aa aa aa aa aa aa
arre o paaji raajkumaar
meri dulhan ka ??
arre o paaji raajkumaar
meri dulhan ka ??
saamne aa le kar talwaar
saamne aa le kar talwaar
teri gardan doon abhi utaar
teri gardan doon abhi utaar
Thakur chhod de ae
pardesi ko kar le mera haath
Thakur chhod de ae ae
pardesi ko kar le mera haath
duniya hansne na degi
duniya rone na degi
duniya hansne na degi
duniya rone na degi
chain se marne na degi
kisi ko milne na degi
chain se marne na degi
kisi ko milne na degi
Thakur chhod de ae ae
pardesi ko kar le mera haath
Thakur chhod de
o raani
main na ??
aa gaya main aaj
sachcha tera yaar hai
tera Rajkumaar
dekh do tukde hai talwaar
malaniya kar inka singaar
dekh do tukde hai talwaar
malaniya kar inka singaar
mera ghoda sar se taiyyar
basaa lo tum apna sansaar
mera ghoda sar se hai taiyyar
basa lo tum apna sansaar
dekh do tukde hai talwaar
malaniya kar inka singaar
is ghode par baithh ke
jaao donon door
Raja Rani ek hain
?? ??
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Is andheri raat mein
Posted on: May 22, 2022
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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5056 | Post No. : | 16970 |
Today’s song is a special song. It is special because it is sung by an almost unimaginable actor who was a famous villain and we could never imagine that he would have sung a solo song and a record was brought out for that song ! But then life is like that only. It has routinely presented surprises, shocks, puzzles and inconceivable situations. That’s why LIFE is interesting ! Speaking about show business, it is all the more pertinent. There are umpteen number of cases where men became actors when it was not planned and from actors they went into something totally different, unconnected activity. Let us see some examples.
Is it not a game of Fortune, when an ordinary Laboratory Technician becomes a famous and popular actor overnight and is known as Ashok Kumar ? How does one explain the conversion of a choreographer, trained by Uday Shankar, for the film Lakharani-1945 into famous director Guru Dutt ? Hari Shivdasani started as a film director with Yasmin-1935, but became an actor in 110 films. Motilal-a Navy aspirant and a casual onlooker of a shooting is invited to directly become a Hero and for next 31 years became a popular actor. Likewise Ramnarayan Venkatraman Sastry who was an M.Sc.,Ph.D. in Physics, knew 12 Indian and 4 Foreign languages, who edited a Dance and Drama Magazine, who earned a Fellowship of New York University, A grade Flier, Swimmer, Painter, a trained magician, Shooter, A.I.R. Singer and who was invited by European and American Universities for giving lectures, one fine morning was invited and became a Tamil Film Hero in 1941. He was named Ranjan and acted in 58 Hindi films, wrote film stories like Munimji-1955 and did Choreography.
The Film Industry is replete with other side examples too – like how successful actors left films and did something totally different… like Shashi Kapoor Sr. who left a blooming film career as a Child artiste of 21 films, did M.Sc.Ph.D and became a Mathematics professor in an American University. The case of Ashraf Khan is too weird to be believed. He was an actor-singer in 31 films and 59 songs, left films and became a Sufi Saint ! Mukund Rai Trivedi- one of the Frank- Rai pair of Music Directors left films, joined family beusiness of Mining, became a Billionaire and a Lok Sabha M.P. Madholal Master left films after 34 films as an MD and purued his hobby of making Puppets. He became internationally famous and was honoured by the international Puppetary Association. His ” JOKER ” puppet was used by Raj kapoor in film Mera Naam Joker. Saigal was a Typewriter salesman before becoming a singer-actor.
In these examples add one more name B. M. VYAS. The famous villain of 174 films was a stage drama actor, a singer and a Music Teacher to Mahendra Kapoor and his brother, to start with. He was a trained musician and singer. Today’s song is sung by him for the Drama ” Deewar”- staged by Prithvi Theatres in 1945. Let us take a look at his journey from a singer to a villain….
Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.
On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.
Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.
While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.
The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and heads would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.
Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc.
After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas . This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.
Vyas had been interested in music since childhood. He is a self-taught singer. In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat . Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).
Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.
After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.
When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.
He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas’ ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.
About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded clothes but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.
B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95. Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)
This is the second song from the drama Deewar-45. The first was sung by Raj kapoor, but since this was sung by an unexpected actor singer, I thought our Blog must have this song also.
Song- Iss andheri raat mein (B M Vyas NFS)(1945) Singer- B. M. Vyas, Lyricist- Saraswati Kumar Deepak, MD- Ram Ganguli
Lyrics
Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
????? mera
bhookha hoon main
pyaasa hoon main
???
aas dikha jaa ke raaja
???
aas dikha jaa ke raaja
???
—————————-
andar aajaao bhai
nahin baba main andar na aaunga
kyon
main ?? leka padta hai
maalik
yahaan de jaao
nahin to ?? bhook se kaat chuka hoon
—————————–
Iss andheri raat mein
aansuon ki barsaat mein
kaun hai mera
aas dikha jaa ke raaja
???
Hum baabu naye niraale hain
Posted on: May 17, 2022
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 : |
5051 | Post No. : | 16964 |
A singing Hero is not a novelty for those who are old film lovers, because in the initial era of Talkie films, most actors sang their own songs in the films. Though the Playback singing was introduced in 1935 in Calcutta and in 1937 in Bombay, it took a few more years to become fully prevalent in all films.
When the Talkie films started in 1931, one of the conditions for the newcomers to join as an actor/actress for lead roles, was that he/she should be able to sing properly. Since most actresses came from singing families (read Tawaifs), just a reasonably good face and a figure was good enough as they knew how to sing. But not all males knew how to sing. So, almost all heroes sang their own songs and so you will find songs by actors like W.M.khan, Kashinath,Khaleel,Master Mohammad, Master Nissar, master Shiraz, Ashraf Khan, Govindrao Tembe, Saigal, panchotiya, Shahu Modak, Marutirao pehelwan etc etc in the films from 1931 to 1937. Many times if the Hero is not able to sing, roles for the Music directors were created and he would act and sing songs in the films for his roles. After this, genuine singers like Surendra, Motilal, Ashok kumar started acting and singing and by the end of the 30’s decade playback was firmly established in all films.
However few popular heroes never sang any songs-like Master Vithal, Jairaj, Prithviraj kapoor etc. Amongst these Non-Singer Heroes of the early era, the story of Jairaj is very interesting. Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man,when he joined films. After doing 11 silent films,he made his first Talkie,’ Shikari” in 1932. It was produced by a Hyderabad company-Eastern Films.He acted in 170 films and had received the Phalke award and Padma Bhushan in 1980.
In the early phase of Talkie films,there used to be,on average 15 to 20 songs in every film. It was compulsory for every Hero and Heroine to sing their own songs live( playback came in 1935 and became common in 38-39 only). To help the non-singer actors,studios used to keep trained classical experts. Otherwise also most MDs in those days were classical singers themselves.
Thus,Jairaj too was expected to sing songs. He did not like singing,because he was horrible at singing. The MD of film Patit pawan-33 was Prof.B.R.Deodhar,who was a classical singer himself.(Later on he settled with running a musical school). he was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so bad,that the song was removed from the film from the second show itself. Jairaj is a Hero of those days who never sang in films. Even after playback was used regularly,in his 170 films,Jairaj has sung less than 20 songs on screen !
This was the case of all Genre of films except Stunt films For stunt films, heroes were required to have a Muscular body, ride Horses, fight criminals, Jump from heights, drive Car / Motorcycles, do fencing etc. C. Ramchandra, the famous Music Director , started his film career as an actor and in his first film itself he became the hero of film Naganand-1935. The film was a great flop in its First day First Show itself where only 6 people came to see the film ! He lost the job and started visiting studios to get a job. One day, he was called by JBH Wadia for an interview. CR was very lean. Though good looking, he did noit have good clothes, so he appeared for an interview in Shirt and Pyjama only.
Wadia saw him and asked,” Any experience ?”
CR gave him the Naganand film booklet and said proudly,” I have worked as a Hero”.
Wadia did not even touch the booklet and asked,” Can you ride a Horse ?’
” No”
” Can you fight with 10 goons ?”
” No”
” Can you jump from 20 feet ?”
” No”
” Then what sort of a Hero you were. Get out .” The interview ended. Wadia was famous for making Stunt films. Same CR became a popular composer and a successful singer later on !
I am telling all this to emphasize that actor-singers were first a necessity and later an utility, till playback took over. Today’s song is a song sung by Raj kapoor (14.12.1924 to 2.6.1988), when he was just 21 year old budding actor in his father’s Drama Company.
Prithvi Theatre was founded in 1942, by Prithviraj Kapoor, as a travelling troupe with 150 members, which staged productions across India. Its maiden performance was Kalidasa’s classic “Shakuntala”. In subsequent years the theatre staged more than 2,600 plays such as “Deewar” (Wall), “Pathan” (a community comprising Hindus and Muslims of North India), “Ghaddar” (Traitor), “Aahuthi” (Offering), “Kalaakar” (Artist), “Paisa” (Money) and “Kisaan” (Farmer). Prithviraj starred as the lead actor in every show. His work in the Indian film industry funded the activities of the company .
Prithviraj Kapoor’s dream was to have a permanent place for his theatre company. In 1962 he managed to lease a plot of land in Juhu on which to create a theatre space. Unfortunately his ill-health and subsequent death in 1972 delayed his dream turning into reality. The year he died the lease on the land expired and was offered on sale to his family. Shashi Kapoor and his wife Jennifer decided to make Prithviraj’s dream a reality by buying the land, and setting up the ‘Shri Prithviraj Kapoor Memorial Trust & Research Foundation’ in his memory with the intention of building a space to promote Hindi theatre and the performing arts.
Prithvi Theatre was inaugurated on 5 November 1978 in Mumbai. “Udhwastha Dharmashala”, written by G P Deshpande, staged by Naseeruddin Shah, Om Puri and Benjamin Gilani was Prithvi’s first play. This was followed by a play by the Indian People’s Theatre Association (IPTA), a political satire, “Bakri”, directed by actor-director M. S. Sathyu.
Music had a dominating influence on Raj Kapoor. As Prithviraj’ s son, he had an opportunity to come close to K L Saigal and the master composer Rai Chand Boral, when Prithviraj worked in New Theatres.. Even while in Bombay, Saigal was his neighbour at College Street in Matunga.
His ambition to be a filmmaker did not allow Raj Kapoor to pursue his passion for music, though he did learn its rudiments from Pt Jagannath Prasad who was closely associated with Khemchand Prakash and K L Saigal and also taught music to Premnath, Mukesh and the members of the Kapoor clan.While visualising a song situation Raj Kapoor showed remarkable judgement in selecting the right tunes. He never hesitated to adapt tunes (such as ‘Is libe dis, I love you’ and ‘Dost dost na raha’, both in ‘Sangam’) which had appealed to him, without worrying about the sources from where they came.
If Raj Kapoor had not been a filmmaker he would have been an excellent composer and a good singer as well. He proved his ability as a singer early in his career, when he sang ‘Hum babu naye nirale hain'(Music: Ram Ganguli/N 2666 1) in Prithvi Theaters’ stage-play ‘ ‘Deevar ‘. He displayed an admirable sense of rhythm and melody in the song. With a little more effort he could have been a successful singer.
He also sang in ‘Chitod Vijay’ (1947/S D Burman)’Jail Yatra’ (1947, Ninu Majumdar),’Dil Ki Rani'(1947/S D Burman),Neel Kamal'(1947/B Vasudeo) and ‘Gopinath'(1 948/Ninu Maiumdar/record not released).Eventually Raj preferred the sonorous voice of Mukesh from ‘Aag'(‘Zinda hoon is tarah ki ghame’/ 1948) to ‘ Mera Naam Joker’ (‘Jane kahan gaye woh din’/1970).
Raj Kapoor used to do all sorts of work in Prithvi Theatres. He acted in few dramas and even sang a song in the drama Deewar in 1945. The song became very popular and HMV took out a Gramophone record of the song. The song was written by Saraswati Kumar Deepak, who generally wrote all dialogues and songs of Prithvi dramas. For a long time this record was not available on YouTube. Last week, a kind soul, a generous Record Collector Syed Zafar Shah posted this song on RMIM and YT. When I complained to him that the song had too much disturbance, he very kindly sent me a cleaned and improved song on my personal Whatsapp account. He also uploaded it on YT. I sincerely thank Zafar Bhai for his generous posting of this and many other rare songs on YT for the music lovers. May God bless him. May his tribe increase !
Raj Kapoor understood music and was deeply involved in his film’s music. After Shankar-Jaikishan , Laxmikant Pyarelal pair came to him, but his interference was not acceptable to them and so they too parted. Raj Kapoor wanted not only a good composer but one who will listen to him and tolerate his interference in the music selection. With Ravindra Jain, it was accomplished. Anyway that is besides the point.
The song is very good and firmly establishes Raj Kapoor as one who understood music and as a good singer !
(I have used some information from Nalin Shah’s article on Raj Kapoor’s Music, in July 1988 issue of ” Playback and Fast Forward” issue, wiki, C Ramchandra’s Marathi autobiography and my notes)
Song- Hum baabu naye niraale hain (Raj Kapoor NFS)(1945) Singer- Raj Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Ram Ganguly
Lyrics
hahahaahha
hahahahaa
wawawa
wawawa
wawawa
sun re
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
ab rang naye
ab dhang naye
ab ye sansaar naya apna
aa aa aa
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
ghar ke saare rang jo badle
ghar ke saare rang jo badle
apne bheetar dhang jo badle
hey ae
ab mahal naya ab gali nayi
ab badal gayi poshaak(?) dekh lo
badal gayi poshaak
?? ke jagah ab pyaale hain
hum gitpit bolne waale hain
Darling
How sweet
hum gitpit bolne waale hain
hum gitpit bolne waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
maalik badlaa aa aa aa
maalik badlaa
naukar badlaa
badal gaya gharbaar
maalik badlaa
nakar badlaa
badal gaya gharbaar
jo meri wo Lakshmi badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hey jo meri wo jorua badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae ae
Good bye good bye tata tata
Posted on: March 13, 2022
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 : |
4986 | Post No. : | 16873 |
Today’s song is from the film Naya Raasta-1953.
Human nature is basically the same all over the world. There are some emotions and likes, common to all people everywhere in the world. Irrespective of Caste, Creed, Religion or Language, certain wishes are common all over the world. One of these likes, emotions or wishes is the Human Curiosity, anxiety and craze for things which are NEW. Be it Fashion, Books, Films, Food or a Gift, the very word NEW evokes common emotions all over the Human race !
Clever filmmakers understood this Human weakness for NEW or NAYA quickly and film titles featuring this word were used in an attempt to draw audience attention and a bee-line to the ticket window. Right from the early Talkie days i.e. the 1930’s films with Naya/Nayi were showcased. Nayi Duniya, Nayi Roshni and Naya Zamana were brought in the 30’s. The trend slowly caught up and in the 40’s, there were 12 films with Nayi or Naya in their titles. These were, Nai Baat, Nayi Bhabhi, Nai Duniya, Nayi kahani, Nayi Maa, Nayi Reet, Nayi Roshni, Nai Taleem, Naya Sansar, Naya Tarana and Naya Zamana. Not to be outdone, the 50’s came up with 14 film titles with nayi or naya. Some of them were well known films like Naya Daur, Nai Delhi, Naya Andaz (remake of famous musical film Bazaar-1949) and Naya Paisa.
However, it was a moot question as to how many films with Naya and Nayi in their titles stood up to quench the curiosity of their audience !
Today’s film Naya Raasta was based on a Gujarati drama “Sarvodaya”, staged by Shri Deshi Natak Samaj, which played in Bhangwadi theatre, Bombay for a record period. It became a superhit drama. The owner of Jayant Desai Productions, chose this drama to make a film. It was directed by its owner Jayant Desai himself. Unlike the hit Gujarati drama, the film could not run for a long period and was drubbed at the Box Office.
My observation about the films made on popular or famous books, novels or dramas is that it was only the Bangla film industry which had succeeded in making films on famous works of well known authors. Films remade in Hindi from these Bangla films were always successful all over India. In the 1930s and the 1940s, most films made by Bangla filmmakers, especially New Theatres, were equally popular even in their Hindi editions.
Such success was never seen in Hindi films. In the first place not many films were made on popular works of well known authors of Hindi, unlike Bangla films, on a large scale or even Marathi films on a smaller scale. It seems Hindi audiences liked to enjoy imaginary and sheerly entertaining films churned out by the various ” Story departments” of our filmmakers.
Film Naya Raasta-53 had music by Chitragupta-the melody maker, ably assisted by Dilip Dholakiya. There were 8 songs in the film. Today’s song is the 4th song to be discussed here. It is sung by Chitragupta, Dilip Dholakiya and Laxmi Roy. The cast of the film was Nirupa Roy, Agha, Manhar Desai, Bipin Gupta, Satyanarayana, Krishnakumari, Suryakumar, Umakant and many others.
Today’s song starts with English words Good Bye and Tata. Use of English words in the Mukhda of Hindi film songs is nothing new. Even in the 1933 film ” Karma”, there was a complete English song-“Now the Moon”. Again in the 1937 film ” Duniya na Maane” there was an English Poem recited by Shanta Apte with flawless pronunciation. In the 40’s, 50’s and then onwards in every decade English words in the Mukhada were found.
In the cast we find 2 interesting names-Satyanarayana and Surya kumar. Both were Dance Directors in Hindi films and both had a penchant for acting in the films. This habit is found in many directors too. The famous Alfred Hitchcock had a habit of making a cameo appearance in every of his films and it provided an interesting pastime game to his fans to locate him in the film. I too was one of the fans doing this religiously.
Robert aka Suryakumar (brother of Dancer/Choreographer Krishna Kumar) was born on 14-12-1924. He started his film career as assistant in the sound department in Saigal’s last film,’Parwana’-1947. During this period, yesteryear actress/Dancer Azurie trained him in Dancing. In those days the term ‘Choreographer’ was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.
Actress Azurie had a German father and an Indian mother. She is considered as the pioneer in Film dancing in India. She was so famous in films, that Cuckoo modelled herself on her dancing skills and succeeded.
Azurie(1907-1998) trained Suryakumar in dancing.
Suryakumar then assisted Madame Simka(a disciple of Uday Shankar),in the film “Awaara”-1951,when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films.Their last film together was Bombay 405 Miles-1980. Suryakumar was also very friendly with dancer Edwina. He visited her London home many times, when she settled after marriage in London.
Surya Kumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.
Surya Kumar had a penchant for acting. He would himself appear in most of his dances in films. During our college days, it was our pastime to search for him in Helen dances. Surya kumar acted in 7 films, in small roles – Singar-49, Naya Raasta-53, Shesh Naag-57, Bus Conductor-59, Aankh Michauli-62, Har Har Mahadev-74 and Shravan Kumar-88. Surya Kumar also directed 4 films – Kamal-49, Nakhre-51, Laadla-54 and Saazish-59.
He then worked as a Production assistant and as an editor too, before retiring. His last days were spent in poverty and he died on 19-8-1987 in Bombay.
The female singer in today’s song is Laxmi Roy. Laxmi Roy was the younger sister of Geeta Dutt. When Mukul Roy became a composer with his first film Bhed-50, he gave Laxmi Roy her first film song to sing. She was not a very good singer or her voice was not an extraordinary one. So no major composers noticed her. Chitragupta gave her one song in Bhakta Puran-52 and 2 songs in Nayaa Rasta-53. Composer Vinod tried her with one song in Aag ka Dariya-53. S. N. Tripathi gave her two songs in Nav Durga-53 and lastly she sang one song for Mukul Roy in Sailaab-56.
Pramod Chakravarty, who became a well known Director and producer later on, was working as assistant to Guru Dutt in Sailaab. During its making Laxmi and Pramod got married and Laxmi’s singing career came to a close ! In all she sang just 8 songs in 6 films.
Let us enjoy this interesting song….
Song- Good Bye Good Bye Tata Tata (Naya Raasta)(1953) Singers- Laxmi Roy, Chitragupta, Dilip Dholakiya, Lyricist- Saraswati Kumar Deepak, MD- Chitragupta (Asstt. Dilip Dholakiya)
Lyrics
Good bye
Tata
Good bye
Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
aakhon ki ulti patti palat lo
varna padega chaantaa
aakhon ki ulti patti palat lo
varna padega chaantaa chaanta
Good bye good bye Tata Tata
Good bye good bye Tata Tata
tumse adab se kehta hoon madam
sun lo yahi albatta
tumse adab se kehta hoon madam
sun lo yahi albatta
apne sajan ko tumne banaaya
patton mein tirpanwa patta
apne sajan ko tumne banaaya
patton mein tirpanwa patta
wo patta joker jismein samajh lo
bade bade patton ko kaata kaata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
office mein baithhi type karo tum
ghar mein pakaaun main roti
office mein baithhi type karo tum
ghar mein pakaaun main roti
tu meri maalik main tera chaakar
Kismat ye kaisi hai khoti
tu meri maalik main tera chaakar
Kismat ye kaisi hai khoti
ik din gulaabi raste pe gori
tum ko milega kaanta kaanta
Good bye good bye Tata Tata
Good bye good bye Tata Tata
jeewan ko samjho na koi juaa
yoon haar ke ?? Baazi
jeewan ko samjho na koi juaa
yoon haar ke ?? Baazi
jo yahaan khoye wo yahaan paaye
chhodo jee ab naaraaji
jo yahaan khoye wo yahaan paaye
chhodo jee ab naaraaji
malmal raaste hain sabke waaste
sukh dukh ko ghar ghar baantaa baantaa
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Good bye good bye Tata Tata
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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