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

Posts Tagged ‘Singer-MD


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Blog Day : 4069 Post No. : 15206

Today (8 september 2019) is the birth anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011).

It is appropriate that we honour him in the blog with a song. Lyrics of the song (sent by Avinash Scrapwala) is there with me. When I listened to the song, I wanted to listen to the original Assamese song. That opened a Pandora’s box. I discovered such a goldmine of information about Bhupen Hazarika, Assam, Assamese culture and History etc that it became a case of information overload for me. Now I have so much information to discuss that I do not known where to begin.

The thought that immediately came to my mind is whether Bhupen Hazarika has got his due recognition. The answer is, yes, belatedly, but his contribution has been recognised and he received Bharat Ratna this year in 2019. A posthumous recognition, and a richly deserved one.

The contribution of Bhupen Hazarika in putting North East part of India in general and Assam in particular and bringing its rich culture to the notice of outsiders is immense.

He began very young and visited all over the world and became a truly cosmopolitan Indian. And he never forgot his roots !

Assam and North East is a remote part of India, and it was considered a “punishment” post for Indians living in other parts of the country. That was mainly because this part of the country was neglected and underdeveloped. The aspirations and feelings of this part of the country were not properly addressed. This led to feeling of alienation and led to separatist movements and militancy.

I had the experience of being posted in this “punishment” posting area from 2000 to 2003. These three years helped me understand Assam and North East first hand by interacting with the natives of the region. And I realised how their hopes, aspirations, demands etc were falling into deaf ears for decades.

Now, for the last few years, attempts has been made to make the people of north East region feel like every one else. The infrastructure works that were languishing for decades have been fast tracked. In 2000, I was posted in Lumding division. The MG line from Lumding to Badarpur and beyond in South Assam was planned for BG conversion but the progress was abysmally slow. During the last few years, this project was fast tracked and now we finally have BG line between Lumding and South Assam. A travel between Silchar to Lumding, which took 12 hours now takes five hours. This remote area now feels more mainstream with rest of Assam. Assam itself now feels more mainstream in India than ever before.

In the past, roads and bridges would not be constructed in border areas because China used to object. Now the government ignores such Chinese protests and goes ahead with the construction work. That is how the long pending demands of Assam and North East were met. Bogibeel Bridge, which was a demand since 1985, in the agreement signed between AASU and Indian Government was gathering dust for decades before this bridge finally got constructed and inaugurated in 2019. One year ago, another bridge (which too was not getting constructed in the past because of Chinese protests) got finished and was inaugurated. This bridge over river Lohit, connecting Dhola and Sadia ( the longest road bridge in India), was very appropriately named as Bhupen Hazarika Bridge.

At a time when North East felt alienated from rest of India, it was people like Bhupen Hazarika who kept their morale high and kept their hopes alive, and kept their faith in India intact.

Not just India, even the neighboring Bangladesh regards him highly. His iconic Assamese folk song Manush Manusher Jonno (Humans are for humanity) was chosen to be the second most favourite number after the National anthem of Bangladesh, in a Bangladeshi opinion poll.

Many of his Assamese songs became known all over India after their Hindi versions were made. One such album of his songs was “Main aur Mera Saaya”(1993). Here, Gulzar translated some of Bhupen Hazarika’s iconic Assamese songs into Hindi.

These Hindi songs became so popular that they are sung all over India by artists and they are performed by school children in their cultural programmes.

Here is the song “Ek Kali Do Pattiyaan” from this album. Bhupen Hazarika had sung this song originally in Assamese as “Eti Kuhi Duti Paat”. This song has subseuently been sung by many other artists, in Assamese as well as Hindi, and I guess in other languages as well.

Here is this goose bump inducing folk song from Assam, beautifully translated into Hindi by Gulzar. The song is sung and composed by Bhupen Hazarika.

As mentioned above, the lyrics of this song were sent to me by Avinash Scrapwala.


Song-Ek kali do pattiyaan (Bhupen Hazarika NFS)(1993) Singer-Bhupen Hazarika, Lyrics-Gulzar, MD-Bhupen Hazarika

Lyrics (Provided by Avinash Scrapwala)

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
ho oEk kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein

Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
O o
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Preet rang laayee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Jugnu aur Lachhmi ki
Preet rang layee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Ek kali do pattiyaan aa aan
Khilne bhi naa paayee thhi ee ee
Todne us baageeche mein
Daanav aaya re
Ho o daanav aaya re
Daanav ki parchhaayee mein
Kaanp rahi thhi pattiyaan
Bujhne lagi maasoom kali
Daanav ki parchhaayee mein
Daanav ki parchhaayee mein

Saaye se bedaar huye
Tambaran si baahon ke
Saaye se bedaar huye
Tambaran si baahon ke

Dhol maadal bajne lage
Maadal aise baaje re
Lakhon milke naache re
Aaya ek toofaan naya
Daanav dar ke bhaag gaya
Maadal aise garja re
Daanav dar ke bhaga re
Daanav dar ke bhaga

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Ratanpur baageeche mein
Ho Ratanpur baageeche mein

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
हो एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
हो ओ ओ
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

एक कली दो पत्तियाँ आ आँ
खिलने भी ना पायी थी ई
तोड़ने उस बागीचे में
दानव आया रे
हो ओ दानव आया रे
दानव की परछाई में
काँप रही थी पत्तियाँ आँ
बुझने लगी मासूम कली
दानव की परछाई में ए
दानव की परछाई में

साए से बेदार हुए
ताम्बरन सी बाहों के
साए से बेदार हुए
ताम्बरन सी बाहों के

ढोल मादल बजने लगे
मादल ऐसे बाजे रे
लाखों मिलके नाचे रे
आया एक तूफान नया
दानव डर के भाग गया
मादल ऐसे गरजा रे
दानव डर के भागा
रे दानव डर के भागा

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
रतनपुर बागीचे में
हो ओ रतनपुर बागीचे में

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4050 Post No. : 15179

shaam-e-gham ki kasam aaj ghamgeen hain ham

The evening in the first line turned into a night of sadness when I came to know from ASAD Group that Khayyam saab is no more with us. His popular songs started ringing in my ears. Those were the songs with which I have grown up from a teenager to a senior citizen. I had a disturbed sleep last night as some of his songs resonated intermittently in my mind. In the morning, I thought that the best way to get out of such feeling is to write a tributary article for Khayyam saab.

With his death, we have lost the last icon among the music directors of the golden period of Hindi film music He created his own ‘gharana’ of Hindi film music and very rarely deviated from it. The melodious songs he composed were mainly based on Hindustani classical raagas.

As I said, some of his songs were often coming to my mind. The emotional support song tum apna ranz-o-gham apni pareshaani mujhe de do was the one which gave me goosebumps. Not only Khayyam saab and Jagjit Kaur were creators of this melody, I felt that the latter was actually the emotional support system for the former. I identify wo subah kabhi to aayegi as optimistic in the midst of pessimism. I remember Khayyam saab in bahaaron mera jeevan bhi sanwaaron for its a long prelude of nearly 100 seconds of santoor, sitar and flute which created the right ambiance for Raag Pahadi based melody. Among other songs, how can I forget ye kya jagah hai doston and the ‘haunted feel’ song with pauses, ae dei-e-nadaan arzoo kya hai?

Khayyam saab who was so much committed to the quality of his musical compositions, selected only films with good story line. His musical compositions had the benefit of poetry rather than the lyrics. This is reflected in his working mostly with poets of repute like Sahir Ludhianvi, Kaifi Azmi, Jaan Nisar Akhtar, Raja Mehdi Ali Khan, Nida Fazli, Shahryar etc.

There was something for his young listeners and audiences too. Like hai kali kali ke lab par from ‘Lala Rukh’ (1958), a teasing song, jis pyaar mein ye haal ho us pyaar ki tauba from ‘Phir Subah Hogi’ (1958), a jazzy number rut jawaan jawaan raat meherbaan from ‘Aakhri Khat’ (1966), an aspiring love song, aankhon mein hamne aapke sapne sajaaye hain from ‘Thhodi Si Bewafaayi’(1980) and many more.

Coming from a highly educated family from Jalandhar, Khayyam saab could not complete even his high school studies as he was smitten by his idol, K L Saigal and Hindi films. His wish was to become an actor-singer like K L Saigal. Expelled by his father from his house for neglecting his studies, Khayyam saab came to Delhi and stayed with his uncle. Realising his nephew’s interest in music, his uncle arranged his musical training under Pandit Amarnath and his brothers, Husnlal and Bhagatram.

A filmy career which spanned over 7 decades, Khayyam saab started as an apprentice to music Director, G A Chishti in Lahore in 1945. He came to Mumbai in January 1947 with Rahman Verma who was also assisting G A Chishti. Khayyam saab sang his first song ‘dono jahaan teri mohabat mein haar ke’ a duet with Zohrabai Ambalewali under Husnlal-Bhagatram for the film ‘Romeo & Juliet’ (1947). His first film as a music director in partnership with Rehman Verma was ‘Heer Ranjha’ (1948) under the pseudo name Sharmaji-Vermaji.

The song which brought Khayyam saab into limelight was akele mein wo ghabraate to honge from ‘Biwi’ (1950), his third film. This did not help him much in his career path. ‘Footpath’ (1953) was his first film in which he gave the music under his real name, Khayyam on the advice of the film’s director, Zia Sarahadi. shaam-e-gham ki kasam aaj ghamheen hain hum from this film became very popular as a ‘blue mood’ song. Khayyam saab had revealed that he had used western symphony based interlude in this song, especially the first interlude.

The high points in musical compositions of Khayyam saab were reflected in all the songs of ‘Lala Rukh’ (1958), ‘Phir Subah Hogi’ (1958), ‘Shola Aur Shabnam (1961), ‘Shagoon’ (1964), ‘Mohabbat Isko Kehte Hai,’ (1965) and ‘Aakhri Khat’ (1966). Still the success in terms of recognition and box office alluded him. By this time, he had already spent about 2 decades in Hindi film industry but was not in the reckoning in the list of top music directors.

Sometime in the latter half of 1960s, Khayyam saab decided to take a sabbatical from Hindi film industry when he felt that the films he was being offered were not his worth. The sabbatical continued for nearly 8 years. During this period, he devoted his time and energy to compose some of his finest non-film songs among 200 odd songs. Here also he did with the top playback singers like Talat Mehmood and Mohammed Rafi. Begum Akhtar who was very close to Madan Mohan, chose Khayyam saab for composing ghazals for her LP Ghazal album in 1974.

Generally, it is said that once a film artist remains out of film industry for a long time, it is difficult for that artist to make a comeback. I think, Khayyam saab is the only among music directors who made a grand come back with the success of ‘Kabhie Kabhie’ (1976) for which he got Filmfare Award. The next feather in his cap was the outstanding music in ‘Umrao Jaan’ (1981). He was bestowed with National Award for music in this film. In his second coming, he remained active for about 10 years.

It was interesting to know that some of his best music compositions had come from films like ‘Phir Subah Hogi’ (1958), ‘Kabhie Kabhie‘(1976), Umrao Jaan’ (1981) and ‘Razia Sultan’ (1983) where he was not the first choice as a music director. How much efforts and pain he must have taken to prove his credentials to the respective producers/directors to make the music of these film extraordinaire to justify their faith in him.

I have always felt that God has been unkind to Khayyam saab. At every stage of his life – from his childhood time onward, he had to struggle for survival. It took nearly 3 decades to come under the category of a successful music director when ‘Kabhie Kabhie’ (1976) became successful. He got recognition from the film industry as well as from the Government. But his success gave him company for less than 10 years. When he had everything for his modest living, he lost his only son, Pradeep in March 2012. But Khayyam saab had no complaint against God. In almost all his interviews I had read and watched, he had always said ‘Allah ki meharbaani hai, waah Guruji ki kripa hai, Ishawar ki kripa hai’.

Khayyam saab had also composed songs for about dozen unreleased films, one of which was ‘Anjuman’ (1986). As a tribute to Khayyam saab, I am presenting one of songs from this film, ‘kab yaad mein tera saath nahin kab tera haath mein haath nahin’ which is close to my heart. This ‘Faiz Ahmed Faiz’s song is rendered by Khayyam saab and his wife, Jagjit Kaur. I think, this is the only film song which they have sung together.

I offer my condolences to the bereaved family and his friends.

Khayyam saab, you will always be with us through your melodious music.

Video Clip :

Audio Clip:

Song-Kab yaad mein tera saath nahin (Anjuman)(UR)(1986) Singers-Khayyam, Jagjit Kaur, Lyrics-Faiz Ahmad Faiz, MD-Khayyam
Both

Lyrics

kab yaad mein tera saath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin

maidaan-e-wafa darbaar nahin
jaana munsab ki poochh kahaan

maidaan-e-wafa darbaar nahin
yahaan munsab ki poochh kahaan
aashiq to kisi ka naam nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
kab yaad mein tera sath nahin
kab haath mein tera haath nahin

jis dhaj se koi maqtal mein gaya
wo shaan salaamat rahti hai
jis dhaj se koi maqtal mein gaya
wo shaan salamat rahti hai

ye jaan to aani jaani hai
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin

gar baazi ishq ki baazi hai
jo chaaho laga do dar kaisa
gar baazi ishq ki baazi hai
jo chaho laga do dar kaisa
gar jeet gaye to kya kahna
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
ab hizr ki koi raat nahin


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4033 Post No. : 15156 Movie Count :

4161

In my last article, I had discussed Nagesh Kukunoor, a NRI and a Chemical Engineer from USA, who left his lucrative job there to become a film-maker. Somnath Sen was another NRI who, after working as a Software Engineer in the U.S., decided to become a film-maker. Armed with a Master’s in film-making from the University of Southern California, he returned to India to begin his passion for film making.

Initially based in Delhi, Somnath Sen started his work in the visual media with television serials. Later, he moved to Mumbai, where he began his apprenticeship in the various fields of film-making viz, direction, screen-play, cinematography, production-coordinator etc by associating himself with films like ‘Rangeela’ (1995), ‘Raja Hindustani’ (1996), ‘Judwaa’(1997), ‘Kachche Dhaage’ (1999), and ‘Jaanam Samjha Karo’ (1999). He was also associated with documentaries, music videos, corporate films and commercials. In around 2000, Somnath Sen moved back to Los Angeles and became the Creative Head of Lemon Tree Films, a Hollywood film banner floated by two American-Indians who were in the entertainment business.

‘Leela’ (2002) was Lemon Tree Films’ first full length feature film in English which was produced in Hollywood and directed by Somnath Sen. I was neither aware of this film nor was I aware of songs in it. It was only when I was browsing through the filmography of Gulzar saab I came across this film. Luckily, the DVD of the full film is available on the internet. I watched the film and came to know that it was a Hollywood film in English, shot mostly in around Los Angeles with most of the American crew.

The film in DVD is about 100 minutes’ duration. Some of the dialogues are muted probably on the suggestions of CBFC. There are three old Hindi film songs – one each from ‘Junglee’, ‘Jaanwar’ and Kohra’ played in the films (got the names from the credit titles) during some occasions but these are also muted either partly or fully probably on copyright issues.

The theme of the film is broadly the same as that of Nagesh Kukunoor’s ‘Hyderabad Blues’ (1998). However, there is subtle difference in the sense that while ‘Hyderabad Blues’ (1998) highlights the identity crisis faced by a returning NRI in India, ‘Leela’ (2002) is about the identity crisis experienced by an American-Indian teenage son of a NRI couple settled in the USA and a visiting professor from India to the USA. The film also portrays as to how the rules of moral conduct in India get diluted once NRIs spend long period of stay in the USA yet they remain engraved to some extent in them.

The story of ‘Leela’ (2002) revolves around two couples – one the Mumbai-based and the other the Los Angeles based. Leela (Dimple Kapadia) is a professor at the University of Bombay. Her husband, Nashaad (Vinod Khanna) is a poet-singer. Leela is not happy with marital life as her husband is a womaniser. However, separation from her husband is not in her mind as she still loves him.

The film starts with a funeral of Leela’s mother shot in Madh Island (This, with Leela travelling to Mumbai airport are the only scene from the film shot in India). Leela is depressed because of her mother’s death. Additionally, she also feels that she has lost her identity to her husband as she is more known as the wife of the poet Nashaad than a professor. She gets a timely offer from University of Southern California as a visiting professor on the subject of heritage of South Asian countries in a college. She accepts the offer and departs to her new abode to find her own space leaving her husband behind.

Once in the U.S., Leela meets Krishna who is known as Kris (Amol Mhatre, an American-Indian actor) among his friends. He is one of the students in her class. This 18-year boy comes from a broken family and is torn between two cultures, as he was born in the States to parents who immigrated from India. He has been brought up by single mother, Chaitali (Deepti Naval) a divorcee whose ex-husband, Jai (Gulshan Grover) stays with his American girl friend. When Leela befriends Kris’s mother, Chaitali, another professor in the same college, Leela comes to realise that there is much that she can learn about herself from Chaitali. She finds herself exploring the real meaning of freedom.

After some initial hesitation, Kris becomes close to Leela. He starts visiting Leela’s house to learnt more about Indian heritage. He also gets to know about Hindustani classical music and learns to play Sarod. Over a period of time, Kris’s constant meeting with Leela turns into his infatuation of her. Leela discovers herself in a way that would not have fit in the Indian moral code. She starts spending time with Kris. Despite the age difference, it is a meaningful relationship for the two – Leela looking for freedom and Kris getting to know about his Indian heritage.

The story takes a dramatic turn when Kris comes to know that her mother has an affair with an American man. It was a great shock to him. He leaves the house and his father arranges for him a separate house to stay. Around the same time, Leela on a telephonic talk with Nashaad, comes to know that he has a woman in his house. In a fit of anger, she bangs the telephone and remove the cord as she is in no mood to listen to Nashaad’s excuses. At this point, Kris visits Leela’s house and finds her in very bad mood. Both Kris and Leela are emotionally at the venerable situations. Both need each other for solace. At this juncture, both finds in each other’s arms and inevitable happens.

This incidence stains the relationship between Leela and Chaitali. She develops contempt for Leela. In the meanwhile, Nashaad who is worried about the strange behaviour of Leela, decides to accept an offer for his concert tour in the USA. He visits Leela’s house who shares her guilt with Nashaad of her ‘one-night stand’ with Kris. Nashaad is not perturbed by this news. On the contrary, he consoles Leela and at the same time chats with Kris. They became friends. In one of Nashaad’s private concerts, Kris even plays guitar as accompanying musician. After the end of his concert tour, Leela decides to return to India with Nashaad. The film ends with Kris at the departure gate of Los Angeles airport giving his cap to Nashaad as a memento. In return, Nashaad puts his folded shawl on the shoulder of Kris.

As told by director, Somnath Sen in one of his interviews, ‘Leela’ (2002) is a Hollywood film with a soul of a Bollywood. The elements of Bollywood are represented by Hindi songs of different genres – classical, Gujarati garba, Punjabi folk, ghazals and light music. More importantly, the film has a happy ending.

The film was a box office disaster. As per the Box Office India report, the film was made at a total cost of around Rs.2.25 crore. But world-wide, the film could garner about half of the cost of the film. The film was critically acclaimed in the US reviews but Indian reviews were not kind to the film.

The highlight of the film is the brilliant music given by Jagjit Singh (5 songs) and Shantanu Moitra (2 songs). I am presenting one of the songs ‘khumaar-e-gham hai mahekti fiza mein jeete hain’ which is a ghazal composed and sung by Jagjit Singh. The ghazal is written by Gulzar. All the she’rs of the ghazal sum up the relationship between Nashaad and Leela.

A video clip of the song made from short clips of the various scenes from the film is available on the internet, I feel that this is not the original video clip because I have seen these scenes in the film in the different context. My gut feeling says that this song was picturized on Nashaad (Vinod Khanna) during a get together with his fans in the USA. There is a scene in the film of get-together in which Nashaad’s fans request him to sing a ghazal. But the next scene jumps to Leela’s house. Probably, this song must have been deleted from film’s DVD which was released in 2006.

This lovely ghazal of Gulzar in the silken voice of Jagjit Singh fits very well to what English poet P B Shelly had said – ‘our sweetest songs are those that tell of saddest thought’.

Video Clip :

Audio Clip :

Song-Khumaar e gham hai mahakti fizaa mein jeete hain(Leela)(2002) Singer-Jagjit singh, Lyrics-Gulzar, MD-Jagjit Singh

Lyrics(Based on Audio Clip)

khumaar-e-gham hai mahekti fiza mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

bade ittefaaq se milte hain milne waale mujhe
bade ittefaaq se milte hain milne waale mujhe
wo mere dost hain teri wafa mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

firaaq-e-yaar mein saanson ko roke rakhte hain
firaaq-e-yaar mein saanson ko roke rakhte hain
har ek lamha guzarti qaza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

na baat poori huyi thhi ke raat toot gayi
na baat poori huyi thhi ke raat toot gayi
adhoore khwaab ki aadhi saza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

tumhaari baaton mein koi maseeha basta hai
tumhaari baaton mein koi maseeha basta hai
haseen labon se barasti shaba mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4015 Post No. : 15122

“Fashion”(1957) was directed by Lekhraj Bhakri for Kuldip Pictures production, Bombay. The movie had Pradeep Kumar, Mala Sinha, Chandrashekhar, Manoj Kumar, Jabeen Jaleel,Sunder, Jabeen Jalil, Jagdish Sethi, Kammo, Leela Misra etc in it.

The movie had eight songs in it. Five songs have been covered in the past.

Here is the sixth song from “Fashion”(1957) to appear in the blog. The song is sung by Hemant Kumar and his wife Bela Mukherji. Bharat Vyas is the lyricist. Music is composed by Hemant Kumar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. From the sounds of it, the song appears to be a “beggar” song to me, where the citizens of the nation are being called upon to use desi (including marrying Indians) not videshi. Craving for and using videshi items was considered “Fashion” those days, and that was almost considered an anti national act, as can be surmised from the lyrics of this song.


Song-Maati ko lajaana na (Fashion)(1957) Singers-Hemant Kumar, Bela Mukherji, Lyrics-Bharat Vyas, MD-Hemant Kumar
Both

Lyrics

bade bade toofaanon ke aage
kabhi nahin jo haaraa hai
naari ki taaqat par ab tak
zindaa desh tumhaaraa hai

maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
iski shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
is ki shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa

bikhra hua yahaan Savitri kaa noor hai
Saavitri kaa noor hai
maati mein ramaa hua sitaaji kaa sindoor hai
is maati mein ramaa hua sitaaji kaa sindoor hai
sitaaji kaa sindoor hai
desh ke jawaanon
desh ke jawaanon
o fashion ke deewaanon
thhodi baat puraani maano
apni sej ko paraai naar se kabhi sajaanaa naa
maati ko lajaana naa
is maati ko lajaana na
desh hai mahaan
iski shaan ko mitaana na
maati ko lajaana naa
is maati ko lajaana na

galiyaan paraayi mein kyun khoyaa teraa dhyaan hai
kyun khoyaa teraa dhyaan hai
apni pujaaran kaa tu hi bhagvaan hai
apni pujaaran kaa tu hi bhagvaan hai
tu hi bhagvaan hai
raam hai tu uskaa aa
raam hai tu uskaa
ghanshyaam hai tu uskaa
chaaron dhaam hai tu uskaa
aisi naari ke jigar pe kataari tu chalaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
is ki shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa


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 : 4006 Post No. : 15110

“Labelaa”(1966) was directed by Bhagwan for Young India Entertainers, Bombay. The movie had Sujit Kumar and Kum Kum in lead roles. Others in the movie were Bhagwan, Om Prakash, Helen, Bela Bose, Ratanmala, Maruti, Anwar Husain etc in it.

The movie had six songs in it. Two songs from the movie have been covered in the blog.

Here is the third song from “Labelaa”(1966) to appear in the blog. This song is sung by C Ramchandra Asha Bhonsle and chorus. Anand Bakshi is the lyricist. Music is composed by C Ramchandra.

The song is picturised as a dance song on Bhagwan Dada and Bela Bose, with many others also present. I request our knowledgeable readers to help identfy the other actors visible in the picturisation. The video has several cuts so putting together entire lyrics is a tall order and there may be errors in the lyrics. I request our readers with keener ears to help correct the lyrics.


Song-Raat din kis tarah ab guzaara karen (Labelaa)(1966) Singers-C Ramchandra, Asha Bhonsle, Lyrics-Anand Bakshi, MD-C Ramchandra
Both
Chorus

Lyrics

yeah

waah

aah

arre waah
hahahaahaha
hahaha

raat din kis tarah ab guzaara karen
tu hamen ham tujhe na pukaara karen
lalalaaluralu
lalalaaluralu
hahaahauaha
lalaallalularalu

raat din kis tarah ab gujaara karen
tu hamen ham tujhe na pukaara karen

chup rahen
bas nazar se ishaara karen
ae dil mere dil
huaa ru
aa padi hai mushqil
huaa ru
dil ki baat
laahu
kaise kahen
laa hu
kaise kahen
kaise sun rahi hai mahfil
ae dil

har kisi baat ka ek fasaana bana
o deewaani sabhi ko diwaana bana

lalalalluralu
lalalaluraalu
hahahahuahua
lalalaluraaru

har kisi baat ka ek fasaana bana
o deewaani sabhi ko deewaana bana
aaj tu heer ko bhi nishaana bana
ae dil mere dil
huaaru
ha kar yaahu yaahu


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

Blog Day : 3985 Post No. : 15074

Saw “Bees Saal Pehle” which released on 6th June 1972, viz a few days back aaj se “saintees saal pehle”.

It starts off as any horror movie of those times. We have Vinod Mehra driving a vehicle (highly polluting by the standards set in the modern days) through a ghat road in perfect weather, rather late in the evening. His vehicle stalls when he stops it to see what or who has jumped over the cliff, doesn’t find a thing but now he has to look for help to restart his journey.

He sees a bungalow close by-predictably- and it is almost dark by the time he gets there. He knocks and the door opens by itself (was reminded of Mehmood from “Pyar Kiye Jaa”). He walks in with a “Koi hai? Arre koi hai?” (anybody there?). And an old man (Iftikhar) materializes and offers him a room for the night in the cob-web infested house.

Surprisingly the room has a clean patch. And as is the norm since time immemorial (my first experience was in the Ashok Kumar- Madhubala starrer “Mahal”) Vinod Mehra hears a lady scream and then sob and then sing plaintively. Sure enough, Vinod runs out of the room seeking the old man and asks for an explanation.

Then the movie goes into “Bees Saal Pehle” there was a Choudhury (Abhi Bhattacharya) in a city nearby, whose only heir (Ritesh) was in love with a sweet girl (Farida Jalal) of the area but had to marry another damsel (Anupama) to relieve her of her distress. By the time the movie got to this point in the story it had given us a party song, a romantic song, a line of a bhootiya (haunting) song and a “questioning the god” song.

Essentially the movie had eight songs with one of them appearing twice in the movie. The singers used were Lata Mangeshkar, Ranu, Asha Bhonsle, Kishore Kumar and Hemant Kumar as playback singers. S.H.Bihari was the lyricist and Hemant Kumar was the producer (Geetanjali Pictures) and music composer. Movie was directed by Probir Roy. The title card said that Ritesh (Hemant Kumar’s son) was introduced in this movie and I was surprised to see Hrishikesh Mukherjee’s name in the star cast. I didn’t get to the part where Hrishida makes a screen appearance as by then I had found my song to go with this post.

Going by the time of release of this movie, today’s song could well be one of the last songs that Hemant Kumar sang for Hindi movies. His journey started in 1935 with recording a song for All India Radio, Bengali non-film songs happened in 1937 and first film song was for “Nimai Sanyas” in Bengali in 1941. His first Hindi film came in the form of “Anand Math” of Filmistan in 1952. He had a 50-year long career dedicated to music- he was a Rabindra Sangeet exponent. I am sure we have had Hemantda’s detailed biography in a few posts of this blog.

We remember Hemant Kumar Mukherjee, of the wonderful voice, with a song sung and composed by him in the later part of his career, today on his 99th birth anniversary.


Song-Poochhe to kaun poochhe ye baat aasmaan se(Bees Saal Pehle)(1972) Singer-Hemant Kumar, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi
bijli ko aashiyaan se
poochhe to kaun poochhe

barbaadiyon ko apni
aabaadiyaan samajh le ae
barbaadiyon ko apni
aabaadiyaan samajh le ae
aisa junoon laaye
har aadmi kahaan se
poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi ee
bijli ko aashiyaan se
poochhe toh kaun poochhe


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

Blog Day :

3928 Post No. : 14998 Movie Count :

4105

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 8
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Not all journeys have a pre-determined destination.

Sometimes a traveler sets off on a journey, purely with the intention of travel. For how long, which specific places he will travel to, where he will stop, who and what he will encounter…these are all unknown.

All he knows is that he has the desire to travel – and will travel for as long as he has such desire, and the ability to travel.

And it is just as well that he travels without a set destination or time-frame. That would take away from the enjoyment of the journey itself. It is not that the travel is meaningless – it certainly has a purpose. Just that the purpose is to enjoy the journey, not to keep a destination or time-frame in focus.

I’d like to think this blog is one such journey – and Atul is this traveler.

Atul has himself said many times, when he posted his first song on this blog on the 19th of July 2008, he had no idea what it would go on to become. As a music lover, all he wanted was to have a blog of his own. A place where he could post songs of his choice and share his taste with other music lovers. Pretty simple, isn’t it?

At that time, he would’ve been happy if he could have got to a 1000 songs on the blog. That would have been huge.
2000? Amazing!
5000? Are you CRAZY?
10000? Ab bas bhi karo yaar, kuchh zyaada hi ho gaya

But this traveler never stopped travelling. One step at a time, he kept walking. The milestones kept passing by. He acknowledged them – but never stopped. Sort of like “nadiya chale chale re dhaara, chanda chale chale re taara, tumko chalna hoga, tumko chalna hoga”.

Along the way, he met fellow-travellers and became friends with them. They joined him on his journey, so he had company. But he never stopped.

Yes, he might have occasionally slowed down, but the most important thing is – he never stopped.

And that is the only reason we can today celebrate this mega-milestone.

The biggest to date.

15000.

Yes, that’s a thousand songs, fifteen times over.

Mind-boggling.

But, to me, that’s not the whole story.

If you take a flight from Moscow to Vladivostok, it takes about 8 ½ hours.
The Trans Siberian Express train takes about a week.

If I had the time, I know how I’d like to travel.
I’d like to breathe in every moment of the travel – not rush it.

This blog has not rushed through these 15000 songs mindlessly, just for the purpose of statistics. If it had done so, it could’ve reached this milestone much earlier.

No, that was not the idea of this blog at all. Ever.

As I said earlier, Atul’s idea was to share songs with other music-lovers. To have these songs introduced on the blog, discussed in detail with appropriate credits to artistes, with a video/audio and full lyrics.

That was – and continues to be – the format for every single song from day one.

And when you have a format of this type, you want every song to have its own space and time. If you post 20 songs on one day, are you doing justice to each individual song? Won’t it just get lost in the crowd?

So the pace of this blog recognizes this important aspect of music appreciation – don’t overload.

So the bigger story (for me at least) is HOW we have got to 15000.

One song at a time, ranging from 1 to about 7 songs a day (7 itself is a high number), we have come this far over TEN years and NINE months. Yes, we are in our 129th month now. And the posting has not been sporadic – it has been EVERY SINGLE DAY (except for very few days when there’s been no posting).

THAT, for me, is truly astounding.

For ONE person to have THIS level of dedication, commitment and discipline, despite all sorts of constraints along the way – THAT to me is mind-boggling.

Yes, we guest posters have joined on the journey, and posted from time to time. (I’m saying this a bit hesitatingly given my own limited contribution in the last year). But, as Sudhirji pointed out in a recent post, Atul’s posts are 3 times more than all our guest posts put together. That shows the sheer weight-lifting he does.

And mind you, this is just the number of posts. There’s so much more on the blog- the various statistics, by movie, by year, by artiste and so on. And anniversary dates. Atul has truly built a repository for the ages.

That brings me to my next point.

The repository.

It is not that songs aren’t available on the net. Of course they are. There are songs all over the place.

But this blog is different. It doesn’t treat a song as just a song. There’s a narrative about it, a background wherever possible. About the film, the artistes involved. And Atul is a stickler for accuracy, so he does his level best to get the facts and lyrics 100% accurate. It’s not easy with some old songs where the audio itself isn’t clear – but he makes a genuine effort. And that is because of the type of person he is – no shortcuts, no compromises.

All of this means that the reader gets as accurate a source as possible.

Then consider the songs themselves.

Some of these songs are rare songs, which were not even available earlier on the net. Some others were available, but with limited detail. When these songs were made available here, the blog tried to give the song, and its artistes, full respect.

This is what makes this blog a treasure house, a repository for generations.

While on this point, I think I must mention fellow travelers (we call them Atulites) who have contributed greatly to enriching this blog.

Atul will be the first person to admit that his own knowledge of songs and artistes would never have been enough to make the blog what it is today. This is nothing to be ashamed of. All of us know more about some songs and eras, and less about others.

But we thankfully have some “maharathis” (they know who they are, so I won’t name them 🙂 ) who, between them are an ocean of knowledge, and like walking encyclopedias. Their contribution, whether through posts or through comments, is truly outstanding. They have enriched this blog so much, taking it to a different level altogether.

So when we talk of team effort, this is a perfect example of it.

This brings me to my next point of awe.

If this blog had been a commercial venture, I can understand a business posting songs every day, to maximize its views, and earn revenue as a result, through advertising or other means.

But Atul has been doing this as a labour of love. It started as that, in 2008 – and continues to this day with the same intent.

So a labour of love, posting songs every single day, for 129 months at a stretch, to the level of detail and accuracy that this blog has – just pause for a moment to let that sink in.

Pause.

So while we celebrate the 15000 milestone, I request everyone to try to appreciate the true significance of it.

It’s not just the number – it’s the weight of the love and effort that has gone into it. It’s like 15000 kg of love and effort.

Along the way, this blog has done something else too. Possibly unintended initially, but as “Blog Ke Side-Effects” 🙂 , it has brought us Atulites together. Many of us have met each other, we now have a whatsapp group, all thanks to the blog, and Atul.

For me, personally, it has been a very enriching journey. I’ve been fortunate to have been involved right from day one – and along the way I’ve got to know some wonderful people with an amazing level of knowledge about HFM. I’ve got to know SO many songs only through this blog.

I really can’t thank Atul enough for all this.

So even if my participation has been very limited of late, this blog, and everyone associated with it, will always have a very special place in my heart.

And on this occasion, I can only wish that the journey goes on and on as we head towards the next target of 15921. 🙂

A line that comes to mind is “apni pyaar ki gaadi chalti rahe, apni pyaar ki gaadi chalti rahe”. 🙂

Now onto the song for today.

I must admit it wasn’t easy for me to decide on a song for this occasion.

For one, not only has the blog already got 15000 songs, but even the songs still to be posted are mostly relatively new songs ( which I barely know), or lesser-known songs of a much earlier era than mine.

This makes my task somewhat difficult.

A song I had in mind got cancelled out because it had already been posted, so I had to renew my efforts.

But one thing. I did have an idea of the type of song I wanted to post.

I wanted a fun, lively song. After all it is a celebratory occasion, so why not a fun song?

The lyrics didn’t really matter too much, as long as it was a jhakkaas song. 🙂

While looking for random songs, I tend to think of the 1970s as my first choice of decade. The main reason for this is, it is the decade I grew up in – and there’s always a chance I’ll come across a song that I heard in my childhood, and that still happens to not be posted. This has happened on a few occasions with me.

I’ll be the first to admit that the 1970s songs signaled the end of what is popularly known as the golden era of music. By the time the 1970s came along, audience tastes had changed. Not just in India, but around the world. The hippie culture had come in, there was a sense of wanting to break away from the established order of things.

It was only natural that India too would be affected by this trend. Films are a good reflection of society – and films of the 1970s are markedly different from those of an earlier era.

Music, as a very important component of Indian films, also reflected this.

And no one exemplified this better than RD Burman.

RD (or Pancham as he was popularly known) was a trend-setter. Hugely gifted, he experimented a lot, with instruments, tunes and sounds. The audience, already ripe for change, embraced RD’s style wholeheartedly and made him a huge success.

It was not that RD could not compose traditional tunes – he could, and he did. But he also made a deliberate effort to invent his own style, to distinguish himself from his legendary father’s style.

I personally think music, like everything else, evolves. We need to recognize that times keep changing – and music needs an audience too. So if the audience is changing, why wouldn’t music change too?

So, as Tennyson said, “the old order changeth, yielding place to new”.

The song I have picked today is from my schoolboy days. I had heard it a few times then – we used to sing it in school. But somehow I never heard it after that, and had even forgotten all about it.

Recently I came across it again – and was surprised to find it hadn’t been posted yet.

Initially I was thinking of keeping it for an RD occasion, seeing as it has such an RD stamp about it – but then I guess this occasion is as good as any.

If we are celebrating 15000 songs on this blog, and Atul is the architect of it AND is also a 1970s schoolboy, why not a song that he might have heard in those days too?

Dil to maane na….meri jaan, meri jaan aa aa aa aa

Vintage RD & Asha Bhosle.

Ever since this song has come back into my life, I’ve enjoyed listening to it.

I hope you enjoy it too. Jhakkaas enough for you? 🙂

Congratulations to all of us, travelers on this journey, for the 15000-milestone.

And a special thanks to Atul for bringing us all together.

Looking forward to milestone 15921. 🙂


Song-Dil to maane na (Shaitaan) (1974) Singers-Asha Bhonsle, RD Burman, Lyrics-Majrooh Sultanpuri, Music-RD Burman
Chorus

Lyrics

turu turu haa
turu turu haa
turu turu haa
turu turu haa

Dil to maane na
Haa
Dil to maane na
Haa

Haa
Dil to maane na
Meri jaan
meri jaan haa haa ha ha
Dil to maane na ha ha ha ha ha
Meri jaan
Meri jaan haa ha ha ha
Dil to maane na ha
Dil ko milna to hai
Phir kisi se miley
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kiske
tu hi bata de na re
dil to maane na
Haa

Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na
haa
Dil ko milna to hai
Haa
Phir kisi se miley
Haa
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kiske
tu hi bata de na re
la la la la lalalala

Meri jaan
Meri jaan haa ha ha ha
Dil to maane na

Dweera tara taa taa tara taa
Haa
Dweera tara taa taa tara taa

Jaane dilbar jaane jahaan
Para para para para ha
Tum bin ab chain mujhko kahaan
Kya jaanoon main raaton ki neend
Haa
Hoy
Haa
Hu

Main to mar gayi ho kar jawaan
Rang ras ki bhari
Hai jawaani meri
Behki behki phiroon
Haaye re main baawri
Mujhe to baahon mein
Tu hi uthhaa le na re
dil to maane na
Ha

Meri jaan
Ho Meri jaan haa ha ha ha ha
Dil to maane na
Dil ko milna to hai
Phir kisi se miley
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kis ke
tu hi bata de na re
la la la la lalalala

Meri jaan
Meri jaan haa ha ha ha
Dil to maane na ha

Dugdugdugdugdugdug
Dugdugdugdugdugdug
Haa
Hoy
Haa
ho
Dugdugdugdugdugdug
Dugdugdugdugdugdug
Haa
hu
Hoy
Haa

Naina tujh se jab jab lagey
Tan mein jaise sui chubhey
Pairon se na phir tan rukey
Hui
Haa
Hui
Haa
Hui

Haathon se na dhadkan dabey
Thhandi aahen bharoon
Na kisi se daroon
Main deewaani sahi
Tu bataa kya karoon
Arre lagi dil ki
Tu hi mitaa de na re
dil to maane na
haa

Meri jaan
O Meri jaan haa ha ha ha ha
Dil to maane na
Dil ko milna to hai
Phir kisi se miley
Haa
Hey
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kis ke
tu hi bata de na re
dil to maane na ha ha ha

Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na
hahahahaha
Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na ha
Haaa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3894 Post No. : 14930

“Jail Yatra”(1947) was produced and directed by Gajanan Jageerdaar for Jaageerdaar productions, Bombay. This “Social” movie had Gajanan Jageerdaar, Kamini Kaushal, Raj Kapoor, Harish, Bikram Kapoor, Badri Prasad, Sunalini Devi, Dixit, Ramlal, Hemavati, Pratima Devi , Sagar, Munawwar Khan, Rammurty, Satyanarayan, Ramlal, Shamlal etc in it.

The movie had eight songs in it. Two songs have been covered in the past.

Here is the third song from “Jail Yatra”(1947) to appear in the blog. This song is sung by Ninu Majumdar and Meena Kapoor. Sajjan is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of the song is available. From the sounds of it, the song appears to be a dance song. Gajanan Jageerdaar , the hero of the movie, most probably lip synced in Ninu Majumdar’s voice. I am less sure about the lady lip syncing in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-O gori kahaan chali us paar (Jail Yaatra)(1947) Singers-Ninu Majumdar, Meena Kapoor, Lyrics-Sajjan, MD-Ninu Majumdar

Lyrics

o gori kahaan chali us paar
o gori kahaan chali us paar
chhod ke gaanvon ki bahaar
arri sun
mor bole ho
aeji mor bole
mor bole mor bole ho

rasiya jaaungi us paar
bulaate hain jagmag baazaar
rasiya jaaungi us paar
bulaate hain jagmag baazaar
man hamaar dole ho
man hamaar dole ho

gori rum jhum rum jhum baaje
saawan ki bauchhaar
gori rum jhum rum jhum baaje
saawan ki bauchhaar
rasiya chhoom chhananchhan baaje
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
rasiya chhoom chhananchhan baaje
paayal ki jhankaar

hamaara hara bhara hai gaanv
hamaara hara bhara hai gaanv
aam ki thhandi thhandi chhaanv
arri sun mor bole ho
aeji more bole
mor bole mor bole ho


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 : 3884 Post No. : 14911

“Isi Ka Naam Duniya Hai”(1962) was directed by Shakti Samanta for J B Productions, Bombay. The movie had Ashok Kumar, Shyama, Mehmood, Sahira, K N Singh, Nazeer Hussain, Lalita Kumari, Susheel Kumar, Farida, Kundan, Lata Sinha, Rajan Kapoor, Kathana, Anwari, Ramlal, Masood, Ramesh Chauhan, Helen, R L Ranjan, OmPrakash, Meera Parel etc in it.

The movie had seven songs according to HFGK. Two songs have been covered in the past.

Today (7 march 2019) is the seventh remembrance day of music director Ravi (3 March 1926 – 7 March 2012). As a tribute to him. Here is a song from “Isi Ka Naam Duniya Hai”(1962).

Curiously, this song does not figure in the list of songs mentioned in HFGK. It is the movie opening song cum title song cum theme song cum background song, and the song seems to get played in the movie at several places.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections.

This song was apparently there only in the movie and its records were not made. So the poor quality of the song is because of the poor quality of the print of the movie.


Song-Isi ka naam duniya hai (Isi Ka Naam Duniya Hai)(1962) Singer-Ravi, Lyrics-S H Bihari, MD-Ravi

Lyrics

kahin khushiyon ke mele hain
kahin gham ke fasaane hain
isi ka naam duniya hai
isi ka naam duniya hai
paraaye hain kabhi apne
kabhi apne paraaye hai
isi ka naam duniya hai
isi ka naam duniya hai

bilakhte hain kahin par
bhookh se bachche gareebon ke
bilakhte hain kahin par
bhookh se bachche gareebon ke
kahin par hotelon mein daawten hain
naach gaane hain
isi ka naam duniya hai
isi ka naam duniya hai

kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par reshmi jode hain
daulat hai khazaane hain
isi ka naam duniya hai
isi ka naam duniya hai

koi laakhon ke bangle mein
sukhon ki neend sota hai
koi laakhon ke bangle mein
sukhon ki neend sota hai
kahin par aandhiyon mein
zindagi ke aashiyaane hai
isi ka naam duniya hai
isi ka naam duniya hai


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

Blog Day : 3872 Post No. : 14890

Today’s song is from the film Toote Khilaune-54. It is produced by N.Mehta, directed by Nanabhai Bhatt and the music Director is my favourite – Chitragupt. The cast of the film was Shekhar, Purnima, Gulab, Ranjeet Kumari, Master Romi, Babu Raje, a dog called Ginger and Guest artiste Asha Mathur.

This was a typical family film, involving a too much interfering Mother in law, a foster son and a loving step mother. The decade of the 50s was a period when the film makers were trying their best to give something to everyone. Films of almost all Genres were made in this decade. This decade was a Bridge Period between the old style music and the film making and the New Age films and the Music.

Sadly, the melody in Music had died a slow death, along with the phased exit of composers of the 40s and the 50s. Though emergence of New Age music makers kept the country on par with the changing world tastes, the Music, in particular, suffered the demise of melody and sweetness in film music. Earlier too,songs were inspired by foreign tunes, but the new age music based on foreign tunes was more noisy and instrument dominant, rather than the melody of tunes and singing styles. The 1959 film ‘ Dil deke dekho’ heralded loudly the coming of new age music from then on.

One can not blame the music makers alone, because not only the tastes of audience were changing, but also a whole new generation of producers, directors, actors, singers and composers was replacing the older one step by step. No change takes place overnight. One always gets the warning signals well in advance. Change is inevitable. Either accept change or perish !

Music composers from the 40s and 50s did survive in the 60’s decade, but they were relegated to B and C grade films. Very few composers remained A grade even in 60 or the early 70s. Ultimately, they had to give way to new music. This change was seen as the ” end of the Golden Period” of film music.

Cases like that of Chitragupta and others of his ilk were different. They operated long time but never became A grade. However, it was to their credit that even then, they composed melodious songs which delighted lovers of good music. That is why I like Chitragupt songs. Pick them up from any film and you will not be disappointed as far as melody and good tunes are concerned.

Songs of Toote Khilaune-54 are no exception. Songs were very sweet. There were 8 songs (this was another change that took place in the 50s onwards. Now films had songs less than 10 on average- unlike 10 to 15 songs in 40s and 15 to 20 songs in the 30s). 3 songs are already discussed here. Today’s song is 4th song. This is a duet sung by Chitragupt and Shamshad Begum.

From the cast, I have written about Shekhar and Purnima in my earlier posts. The 3 odd names appearing in the cast are Gulab, Ranjeet kumari and Asha Mathur. Ranjeet kumari’s name was Ranjit kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilaune-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.

One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.

Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyra kiya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).

One of the beauties of old films was Gulab. The First actress form Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The story of film Toote Khilaune-54 , as found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is pro­duced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.
The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of do­mestic troubles.

Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father.

Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.

Playing his role with restraint and sym­pathy is Shekhar who puts over a fine perform­ance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless.

As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.

A superb performance comes from Romi, as the little boy caught up in a web of circumst­ances he cannot understand. He is utterly lov­able and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors.

Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm in­terpretation of the tragic role of Shekhar’s wife.

The fine supporting cast is headed by Ranjit Kumari and Babu Raje who provide the comedy relief as the kind, devoted servants.

Gay and appealing dances punctuate the story, and the songs, with the music composed by Chitragupta, are melodious.

“Toote Khilone” is a charming film, well directed and acted, with polished production values and excellent sets, decor and photogra­phy.

Let us now enjoy the melodious duet of Chitragupt and Shamshad Begum from film Toote Khilaune-54.

( Thanks to Cineplot, directory of Films-1948 and my notes)


Song- Tere pyar mein huye badnaam hum, lote ki kasam, thali ki kasam (Toote Khilaune)(1954) Singers- Chitragupta, Shamshad Begum, Lyricist- Raja Mehdi Ali Khan, MD- Chitragupta
Both

Lyrics

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam

Tere pyaar mein huye badnaam hum
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe

choolhe ki tarah hum jalte rahe
jalte rahe subaho shaam hum
koyle ki kasam lakdi ki kasam
koyle ki kasam lakdi ki kasam
tere pyaar mein huye badnaam hum
lote ki kasam thhaali ki kasam

bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake
nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake

tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
o tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
jee bhar ke ise hum khaa na sake
tum piste aur baadaam hum
pede ki kasam barfi ki kasam
pede ki kasam barfi ki kasam

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

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