Posts Tagged ‘Singer-MD’
Baamna ki chhori dil le gayi
Posted on: September 13, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4805 | Post No. : | 16573 |
‘Main Kya Karoon’ (1945) was produced under the banner of Flora Films and was directed by Sudhir Sen. The star cast included Suraiya, Hansa Wadkar, Pahadi Sanyal, Bikram Kapoor, Anil Kumar, Agha, Shah Nawaz, E Billimoria, Gulab, Cuckoo, Sunetra, Motibai, Ratan Piya etc. The film was released on July 12, 1946.
It is interesting to note from the advertisement of this film (which I have included in the video clip of the song) is that Cuckoo’s name appears in the cast list as ‘Kukoo’. The name of the dance director, ‘Prof. More’ appears prominently in the advertisement which is bolder than that of names of the supporting actors like Pahadi Sanyal, Shah Nawaz etc. I guess, ‘Prof. More’ is the same person as K S More (also spelled as ‘Moray’ or ‘Morey’) who was also the Dance Director to whom Cuckoo had married.
‘Filmindia’ in its October 1946 issue, had written a favourable review. While noting that the film had an usual story of a marriage tangle, the review had commended the work of the dialogue-writer in making an ordinary story into a fast-paced narratives thus sustaining the audience interest in the film. The gist of the story is as under:
Two head-strong fathers (Shah Nawaz and Bikram Kapoor) get their boy and the girl married in their childhood. Soon the fathers start quarrelling eventually cutting off their relationship. The girl comes back to her father house.
Both the boy and the girl lose sight of each other over a period of time. They have grown up in their own environments. One day both of them meet each other without knowing that they were married in their childhood. The hero (Agha) falls in love with the heroine (Suraiya) who is a bit hesitant because she thinks that she was a child widow. However, the hero convinces her for the marriage.
In the meanwhile, there is another development. The hero’s friend is in love with his sister (Hansa Wadkar) who is the friend of the heroine. Multiple misunderstandings develop between all the four main characters resulting in some humorous situations. Finally, the marriage tangle is solved to the satisfaction of all.
The fact that the film was released on July 12, 1946 and the review was published after about 3 months indicates that the film must have run for at least 3 months.
‘Main Kya Karoon’ (1945) had 8 songs – written by D N Madhok (7) and Rammurti Chaturvedi (1) which were set to music by Ninu Mazumdar. The Blog has so far covered 5 songs from the film. I am presenting the 6th song, ‘baamna ki chhori dil le gayi, baniye ka poot jiya le gaya’ rendered by Ninu Mazumdar and Hamida Bano. The song is written by D N Madhok.
This is a love song as a tete a tete between lovers in which there is a bit of teasing as well as the assessment of the then prevailing situation in India where inter-caste marriages were frowned upon. The boy admits that his heart has been taken away by a daughter of a brahmin. The girl retorts that her heart has been taken away by a baniya’s (trader’s) son. Then they talk about how they lost their heart to each other. The girl says that her beloved’s magical eyes, his fair complexion and smiles cast spell on her. The boy reminds his beloved that they have yet to cross the stumbling block of the respective families as both of them belong to different castes. The girl is confident that more than the caste and the family, it is the mutual love for each other that matters the most in the marriage.
I heard this song for the first time only a couple of days back and I immensely liked both the tune and the orchestration. Both the prelude and interlude orchestrations enhance the mood of the song. Another innovative use of the orchestration is instead of the short ‘musical fillers’ in-between lines of the song, there is what I would call it as ‘extra interlude’ orchestrations after the first four lines of the antara of the song to avoid monotony of the repeat of the lines thereafter.
With this song, only two songs from the film remain to be covered on the Blog:
1. Mai-e-gulgun hai jawaani hai by Rajkumari Dubey and Hamida Bano
2. Jaaniyaan maano hamri rasiya maano hamri by Hamida Bano
Audio Clip:
Song-Baamna ki chhori dil le gayi (Main Kya Karoon)(1945) Singers-Ninu Mazumdar, Hamida Bano, Lyrics-D N Madhok, MD-Ninu Majumdar
Lyrics
baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya
gaagri utaaye jaaye
gaagri utaaye jaaye
pag to le
o kamar do bal khaaye
jaadu bhari aankh rang hai gora
jaadu bhari aankh rang hai gora
ho o o o
hans hans ke moh liya man mora
ho o o o
hans hans ke moh liya man mora
sukh lekar dukh de gaya
haay
sukh lekar dukh de gaya
ho o o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa
jaat begaani biraadari ka dar
ho ham pe lagi hai jaani sab ki nazar
pyaar mein biraadari na jaat koi
ho neh laga liya jo wo kare so hoi
jaat begaani biraadari ka dar
ho ham pe lagi hai jaan sab ki nazar
pyaar mein biraadari na jaat koi
o neh laga liya jo wo kare so hoi
sukh lekar dukh de gaya
haay
sukh lekar dukh de gaya
ho o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o
baniye ka poot jiya le gaya..aa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4756 | Post No. : | 16496 | Movie Count : |
4482 |
Today’s song is from a Stunt film of the early 40’s – Mauji Jeevan-1944. It was made under the banner of Harishchandra Pictures, Owned by Harishchandra Rao Kadam. The film was directed by Poonawala He seems to have done only this one film. Similarly, the Lyricist Baba Paagal wrote all the 7 songs of this film and then disappeared from the filmdom.
The C grade stunt films were the cheapest ones to make. Compared to the investment, the profits used to be very good. Producers of stunt/action films tried their best to get the directors, Lyricists and the MDs at minimum rates. For this, sometimes they pretended to give opportunities to new aspirants. This had double benefits. One, being new, he depended upon the producers – thus the films were virtually directed by the producers only. Secondly they needed to be paid near to nothing. This way money was saved…to hell with quality !
The actors working in such stunt films were fixed with almost every studio or producer. They had no chances of working in big banners or Social films. They either kinew no acting or their skills were specific to stunt films like say, fighting, Horse riding, jumping, sword fighting etc. Their charges were also very low. In case the producer himself was acting, then there was no question of making actual payment( though on paper they may be getting some payments). producers like Master Bhagwan, Chandra rao Kadam etc. used to follow this method.
The audience of stunt films did not come to see histrionic talents of the actors, or listen to heavenly music. All they wanted to see was DareDevil action, fighting, 2-3- ” maar Daala” Dances and villain ki bharpoor “Kutai” and “Pitai”. Therefore all matters concerning getting quality actors, famous directors or well known composers never arose for these films. It used to be a thrilling experience to see these action/stunt films in a theatre and enjoy the loud comments and active participation of the audience in the film. When dances were shown whistles were common and when the hero started beating the villain, the audience enthusiastically encouraged the hero and shouted “Maar saale ko” or similar motivating phrases ! I have enjoyed all this first person, several times. I feel sorry that the current generation is missing all this fun.
The Music Director of this film was Gulshan Sufi. This was his just the second movie as a Composer, having Debuted with the film Aaina-44. Of Course being an assistant to a few composers and having sung songs in films, he had some experience. Gulshan Soofi was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.
Finally, he came to Bombay with Bhai Dessa and recorded a few songs. He joined Nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting in small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother India-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.
He started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.
In the world of Stunt films of the 40’s, The Kadam Brothers were Unique. The elder one Chandra Rao Kadam came into films first, made name and money and then helped the younger brother harishchandra Rao to get established. He even got him a studio of his own. They worked in each other’s films as Heroes.
Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by the age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in the Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. From 1932 he did few silent films.
He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as an actor, director and producer. He sang a few songs also.
Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.
His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.
Heroine of the film Mauji Jeevan-44 was Sulochana Chatterjee-younger sister of Kamla Chatterjee, an actress and wife of Kidar Sharma, the famous writer and Director of Hindi films. Actually, at one time, there were at least 5 Sulochanas operating at the same time in the Hindi film industry. They did not create Same Name Confusion because every Sulochana used her Surname, setting her apart from other Sulochanas. There were 3 actresses- Sulochana Sr aka Ruby Myers, Sulochana Latkar and Sulochan Chatterjee. There were 2 Singers- Suloichan Chavan and Sulochana Vyas.
Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpur and it was here that Sulochana did her schooling. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).
Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memorable hit and in which she played with Yakub and Masood.
Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Saraswatichandra-68 etc.
In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.
Today’s song is sung by Malka Amir Jaan and Gulshan Soofi. The female singer Malka Amir Jaan was a professional singer at Meerut (United province), She had also sung a song in film Khooni Khanjar-1934 earlier, under the baton of Music Director Damodar Sharma. Sometimes the Music Directors called professional singers from outside to sing songs in their films. Another example is , Khwaja Khurshid Anwar, MD, had called Lucknow’s famous professional singer Gauhar Sultana to sing 3 solo songs in his film Ishara-1943.
With this song, the film Mauji Jeevan-1944 makes its Debut on this Blog.
Song- Meri uthhti jawaani ki dekho-dekho bahaar (Mauji Jeevan)(1944) Singers- Malika Amir Jaan, Gulshan Soofi, Lyricist- Baba Pagal, MD- Gulshan Soofi
Both
Lyrics
Meri uthhti jawaani ki dekho
dekho bahaar….
Meri uthhti jawaani ki dekho
dekho bahaar
main hoon maalan dildaar
koi poochhe na yaar
main hoon maalan dildaar
koi poochhe na yaar
meri uthhti jawaa
haaye
meri uthhti jawaa
uyi
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho
dekho bahaar
jab ke ban thhan ke
jab ke ban thhan ke
ghar se nikalti hoon main
jab ke ban thhan ke
ghar se nikalti hoon main
to hazaaron ke dil ko masalti hoon main
to hazaaron ke dil ko masalti hoon main
tujhe dekhe jo koi to aaye bukhaar
tujhe dekhe jo koi to aaye bukhaar
mere aashiq hazaar
??pallu sambhaal
mere aashiq hazaar
??pallu sambhaal
meri uthhti jawaa
haaye
meri uthhti jawaa
uyi
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho-
dekho bahaar
yahaan laakhon ke armaan machalne bhare??
yahaan laakhon ke
maar daala
?? machalne bhare
koi ulloo ka patthha jo tum par marey
koi ulloo ka patthha jo tum par marey
chaloon seena ubhaar
tum pe jam jam nisaar
chaloon seena ubhaar
tum pe jam jam nisaar
Meri uthhti jawaani ki dekho-
dekho bahaar
Meri uthhti jawaani ki dekho-
dekho bahaar
koi kehta hai mujhko ke o dilruba
koi kehta hai mujhko ke o dilruba
koi kehti hai jaani idhar aa zara
koi kehti hai jaani ee
koi lootega haa??
koi khaaye khataas
oi lootega haa??
koi khaaye khataas
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho
dekho bahaar
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4750 | Post No. : | 16485 |
The tale of two brothers – Hafiz Khan and Aziz Khan, sons of the Ustad Waheed Khan of Etawaha Gharana is not only saddening but also contrasting in the end. After a promising start in Hindi films as a playback singer and the music director in the 1940s, Hafiz Khan died in 1972 in extreme poverty. Aziz Khan, on the other hand, after a brief stint with Hindi film industry as a music director, reverted to playing Sitar and trained his son, Ustad Parvez Khan who is now an internationally well-known Sitar player.
Etawaha Gharana popularised the Sitar and Surbahar and Ustad Waheed Khan was a famous exponent of both these musical instruments. He appeared in Satyajit Ray’s ‘Jalsaagar (1958) in which he can be seen playing Raag Bihaag on Surbahar in one of the scenes of the film. Ustad Waheed Khan was a court musician at the court of Holkar of Indore for 18 years, in the court of Maharaja of Patiala for 3 years and later in the court of Nizam of Hyderabad until 1948. Naturally, he wanted his two sons to continue the Gharana tradition of playing Sitar and Surbahar. With this aim in mind, Ustad Waheed Khan gave extensive training in Sitar, Surbahar and vocal music to his two sons. At the age of around 12 , Hafiz Khan was sent to Kolkata to receive further training in Sitar and Surbahar from his uncle, Ustad Inayat Khan (father of sitar maestro Ustad Vilayat Khan) who found Hafiz Khan to be a promising student of Sitar and Surbahar. He used to accompany his uncle in his sitar/surbahar concerts.
In Kolkata, Hafiz Khan got mesmerised with the songs of K L Saigal and Pankaj Mullick. He was now more interested in becoming a singer in Hindi films than learning Sitar and Surbahar. On a visit to Hyderabad to spend some time with his father who had then become a court musician in the court of Nizam, Hafiz Khan got a chance to sing songs on Hyderabad Radio. Knowing fully well of his father’s strong aversion to film songs, he had to sing on the radio without revealing his name. He got some money for his singing on the radio.
Knowing that his father would never allow him to sing for Hindi films, one day Hafiz Khan ran away from Hyderabad with his money earned from radio singing to Mumbai some time in 1934. After doing some odd jobs in the film studio including small roles as actor, producer Chandrarao Kadam, who was producing ‘Bahadur Kisaan’(1938) for which Mir Sahab was entrusted with the music direction, gave him a chance to sing a solo song ‘baalam gaye pardes ri sajni’ which became his debut playback song in a film. With this song, Hafiz Khan became known as a singer. Since he wanted to hide his name associated with film songs from his father, Mir Sahab gave him a new name ‘Khan Mastana’ keeping in view his jolly nature.
After the release of ‘Bahadur Kissan’ (1938), Mir Sahab joined Minerva Movietone as the music director. He also took Khan Mastana to Minerva Movietone where he was taken as a playback singer on a 3-year contract. During this period, he sang songs in ‘Jailor’ (1938), ‘Talaaq’ (1938), ‘Pukaar’ (1939) ‘Main Haari’ (1940), etc. His songs from these films raised his popularity graph. During the last year of the contract with Minerva Movietone, Sohrab Modi wanted him to play sitar in addition to his contract as playback singer. Khan Mastana refused to play sitar as he did not wish to become a musician. He left Minerva Movietone. By that time, he had also got an offer from a film producer to work as a music director (probably for ‘Virginia’, 1940). Since Sohrab Modi did not want to lose Khan Mastana, he gave him a chance as a music director in his film ‘Vasiyat’ (1940) which he accepted as a free-lancer.
In around 1945, Khan Mastana’s younger brother, Aziz Khan had also joined Bombay film industry as a music director. To conceal his identity for his association with films, he had also changed his name to ‘Aziz Hindi’. By 1947, Khan Mastana had become a top male playback singer next only to G M Durrani and had given music direction to as many as 23 films. Everything was going very fine in his filmy career. He had money, fame and the luxury of staying in any one of his 5 flats in Mumbai. But his misfortune started when he paid a visit to Hyderabad sometime in 1947. His father who was a court musician at that time with Nizam, did not allow him to return to Mumbai. Instead, he pressurized Khan Mastana to learn classical music and sing in front of him rather than in the films. This continued for almost a year which led to delay in films for which he was committed to complete the recording of the songs as playback singer and as a music director. The producers of such films had to engage some other music directors to complete their films. Khan Mastana’s unprofessional attitude resulted in losing some prospective films as the music director.
In early 1948, Khan Mastana once again ran away from Hyderabad for Mumbai. One year of the absence from the film industry is sufficient for a film artist to be forgotten. Khan Mastana managed to get some playback singing assignments to re-establish himself in the film industry. One of the songs in which he sang with Mohammed Rafi was ‘watan ki raah pe watan ke naujawaan shahid ho’ from ‘Shaheed’ (1948) which became very popular. When Khan Mastana has just settled down in the film industry mainly as a playback singer in his second innings, his father came to Mumbai and forcibly took him ( also his brother, Aziz Khan) back to Hyderabad. This time, he was trapped in Hyderabad for about 2 years.
When Khan Mastana returned to Mumbai after 2 years – probably in 1951, he had not only faced the wrath of producers and music directors for his unprofessional behaviour, he had to face stiff competition of emerging playback singers like Mohammed Rafi, Mukesh, Talat Mehmood and Manna Dey. Some new music directors had also emerged during his absence who were happy with the emerging playback singers. Khan Mastana realised that his days as playback singer and the music director were over. In his third inning in film industry, he could get only a handful of songs to sing. He sang his last song as a playback singer, zindagi hai yaa koi toofaan hai in ‘Zindagi Yaa Toofaan’ (1958) which became his swan song.
From the mid 1950s up to his death in March 1972, Khan Mastana lived a life of extreme poverty. During his heydays, he lavishly spent money on his friends who also made him addicted to some vices including drinking. So, he had not saved money for the future. He was staying with his family in a small room mocated in a lane adjunct to Mahim Dargah. He had got afflicted with paralysis in 1966. His only son got similar affliction at the age of 14.
Khan Mastana who had sung nearly 150 songs, composed music in around 30 films besides acting in around 10 films died unsung in abject poverty in March 1972.
What a sad end of a lineage from the Etawah Gharana. His nephew, Ustad Shahid Parvez Khan (son of his brother, Aziz Khan) who is an accomplished sitar player of international repute is of the view that going by the recordings of his uncle’s Hindustani classical renditions and sitar/surbahar recitals available with the family’s archive, Khan Mastana would have become one of the leading exponents of Hindustani classical music if he had concentrated on playing Sitar/Surbahar and as a classical vocalist rather than in the Hindi film industry.
‘Muqabala’ (1942) was one of the films of Khan Mastana’s heydays for which he was not only the music director, he also sang for himself in the film and also provided playback singing for other actors. This film seems to have been produced at a time when Wadia Movietone was in the verge of a split between Wadia Brothers. The film was made under the banner of J B H Wadia Productions but it was a Homi Wadia presentation. The film was jointly directed by Batuk Bhatt (Nanabhai Bhatt) and Babubhai Mistry. The star cast included Nadia and Yaqub in the lead role supported by Srinivas, Rajni, Dalpat, Nazira, Agha, Jal Khambata, M K Hasan, Baby Madhuri etc.
The film had 9 songs of which 3 songs have been covred in the Blog. All the songs were written by A Karim. I am presenting the film’s 4th song, ‘mujrim hoon mohabbat ka jo chaahe saza dena’ which is picturised on Yaqub. Agha is also seen in the song picturization.
Almost all on-line resources mention Yaqub as the singer. But it is apparent that the voice in the song is that of Khan Mastana.
——————————————————————————————————————————————————————
Acknowledgement: Sometime last year, one of my friends sent me a photocopy of an article written by Madhup Sharma which was published in Hindi magazine, ‘Madhuri’ in 1969. This article was based on the interview the author had taken with Khan Mastana in his house. Much of the information about Khan Mastana in my article is based on this source with some updates.
Video Clip:
Audio Clip:
Song-Mujrim hoon mohabbat ka jo chaahe sazaa dena (Muqaabla)(1942) Singer-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana
Lyrics
aa aa aa
haaa haaa
aaaa aaaaa
mujrim hoon mohabbat ka
jo chaahe saza dena
mujrim hoon mohabbat ka
jo chaahe saza dena
mujrim hoon mohabbat ka aa aa
haan aan
jo chaahe saza dena aa aa
par yaad rahe itna
dil se na bhula dena
par yaad rahe itna
dil se na bhula dena
main dil tumhen deta..aa hoon
lekin kahe deta hoo..n
main dil tumhen deta hoon
lekin kahe deta hoon
mujhko to mitaaya hai
isko na mita dena
mujhko to mitaaya hai
dil ko na mita dena
aaraam na hai din ko….o o o o
aur neend na raaton ko…o o o o
aaraam na hai din ko
aur neend na raaton ko..o o o
beemaar kiya tumne
ab tum hi dawa dena
beemaar kiya tumne
ab tum hi dawa dena
wo guzri huyi baaten
raaton ki mulaakaaten
wo guzri huyi baaten
raaton ki mulaakaat..en
bhoole se jo yaad aaye
do aansoo baha dena
bhoole se jo yaad aaye
do aansoo baha dena
mujrim hoon mohabbat ka
jo chaahe saza dena
par yaad rahe itna
dil se na bhula dena
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4748 | Post No. : | 16476 |
Kishore Sahu, actor, producer, director and story/screen-play/dialogue writer must be a dynamic, ambitious and resourceful person. Otherwise, how could one explain the pace at which he turned producer after the release of only one film? He started his acting career with a lead role in Bombay Talkies’ ‘Jeewan Prabhat’ (1937). One film old Kishore Sahu set up a film production company, India Artists Ltd. As a managing director of the company, he produced ‘Bahurani’ (1940) which was released in June 1940. The film was commercially successful.
By 1945, Kishore Sahu had become a successful film producer, director, writer and actor. But before that he faced a ‘speed breaker’ in his career path. Sometime in the latter half of 1940, Kishore Sahu’s marriage with Snehprabha Pradhan, his co-star in ‘Punar Milan’ (1940) in September 1940 ran into trouble. In less than six months of their marriage, they separated. The long court battles and the resultant divorce sometime in 1942 affected Kishore Sahu to such an extent that he left Bombay in early 1941 and went into ‘hibernation’ for a year or so in his native town and Nagpur.
It is said that a person in a depressed mind for a long time is likely to experience change in his personality after he overcomes the depression. But in the case of Kishore Sahu, it appears that more than the likely change in his personality, the recovery from the personal problems changed his filmy career for the better. Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. It was a social satirical film.
The box office success of ‘Kunwaara Baap’ (1942) encouraged him to direct two more films with similar theme – ‘Raja’ (1943) and ‘Sharaarat’ (1944) making them a trilogy of films with social satire as the theme. He was once again paired with Protima Dasgupta in both these films. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office. But his subsequent film, ‘Veer Kunal’ (1945) which Kishore Sahu produced and directed under the banner of Ramnik Productions was a commercially successful film. In this film, he played the lead role of Veer Kunal.
The next line of career progression took place in 1945 when he bought the banner, Hindustan Chitra Production and become the producer-director under his own banner. Films like ‘Sindoor’ (1947), ‘Saawan Aaya Re’ (1947), ‘Kali Ghata’ (1951) and “Mayur Pankh’ (1954) became successful at the box office. As a director, he saw success in ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948). ‘Dil Apna Aur Preet Paraayi’ (1960), ‘Grihasti’ (1963) etc. He also acted in films of other banners.
As happens with many film directors, after his successful innings of around 10 years, Kishore Sahu, by and large, failed as a director in his later part of the career. After ‘Grahasti’ (1963), he could not attain the same level of success as in the 1940s and 1950s. In the 1960s and 70s, Kishore Sahu produced and directed ‘Poonam Ki Raat’ (1965), ‘Hare Kaanch Ki Chooriyaan’ (1967), ‘Pushpanjali’ (1970) and directed ‘Dhuen Ki Lakeer’ (1974) but could not create ripples on the box office front.
Of these four films, I had seen ‘Poonam Ki Raat’ (1965) when it was released. The film was a suspense thriller. I found the film interesting with tightly maintained suspense coupled with outstanding song compositions by Salil Chowdhury. Around the same time, I had seen ‘Gumnaam’ (1965), and later, I had also watched on TV ‘Wo Kaun Thhi’ (1964), The common factors in all these three films were (i) suspense thriller, (ii) Manoj Kumar as the lead actor and (iii) melodious music and songs. While ‘Poonam Ki Raat’ failed at box office, the other two films were box office success. Can it be said that the young directors were more innovative and had read the pulse of the filmy audience of mid 1960s better than Kishore Sahu or was it simply a loss of his magic touch?
When Kishore Sahu was facing a downturn in his career as a producer-director, he started doing character roles in the films of other banners. Dev Anand seems to be fond of Kishore Sahu who acted with him in ‘Kala Paani’ (1958), ‘Kala Baazar’ (1960), ‘Guide’ (1965), ‘Gambler’ (1971) and ‘Hare Rama Hare Krishna’ (1972). By the way, Dev Anand worked with Kishore Sahu for the first time in ‘Namoona’ (1949).
Kishore Sahu died on August 22, 1980 while on a family trip to Thailand. His last film, ‘Vakil Babu’ (1982) was released after his death.
‘Raja’ (1943) was Kishore Sahu’s third film as a director and the 5th film as an actor. He also wrote the story, screen-play and dialogues for the film. The star cast included Kishore Sahu and Protima Dasgupta in the lead roles supported by Ranibala, Moni Chatterjee, Gulab, Vijay Sahu, Wasker, Anant Prabhu etc.
There were 8 songs in the film of which one song has been covered on the Blog. I am presenting the film’s second song, ‘aankhon ki ye sharaab piye jhoom ke nikle’. The song is written by Amritlal Nagar which is set to music by Khan Mastana. Most of the on-line resources mention Kishore Sahu as the singer. But it is apparent that the voice in this song is that of Khan Mastana.
When I first listened to the song, it gave me an impression of a song of enjoyment. By the time I come to the last stanza of the song, it dawns to me that all is not well in protagonist’s love life.
Audio Clip:
Song-Aankhon ki ye sharaab piye jhoom ke nikle (Raja)(1943) Singer-Khan Mastana, Lyrics-Amritlal Nagar, MD-Khan Mastana
Lyrics
shar…..aab
shar….aab
ye shar…..aab
aankhon ki ye sharaab
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
main kis tarah bachoon
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main aen
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main
behosh banoon main
gar ?? khud sharaab
gar ?? khud sharaab bane jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
hamne nahin paaya
ham pyaar ki duniya se
ham pyaar ki duniya se bahut ghoom ke nikle
haan ghoom ke nikle
haan haan ghoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
Gori ek baat sun badi mazedaar hai
Posted on: July 9, 2021
- In: "Nok-Jhonk" song | Blog Ten Year Challenge (2011- 2021) | C Ramchandra Shamshad Begam duet | C Ramchandra songs as a singer | Duet | expression of love | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sadanand Kamath | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1949 | Yearwise breakup of songs
- 1 Comment
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4739 | Post No. : | 16463 |
Blog 10-Year Challenge (2011-2021) – Song No.30
——————————————————————
In Hindi film industry, the experiences of lyricists turning producer/director have not been generally good barring very few exceptions like P L Santoshi and Gulzar. Dr. Safdar Aah Sitapuri, after successfully writing lyrics for 25 films during 1939-1945, turned director with ‘Bhook’ (1946). The film flopped at the box office. With this, he reverted to song writing until 1954 when he directed ‘Maan’ (1954). This film also flopped. After this, he went back to his teaching profession.
Nakshab Jarchvi, who started his filmy career as lyricist in 1945, turned producer-director with ‘Nagma’ (1953) which was a successful film at the box office, He produced and directed his next, ‘Raftaar’ (1955) which flopped. Next, he directed ‘Zindagi Ya Toofaan’ (1958) which did not do well on the box office front. After this film, he migrated to Pakistan.
Ishwar Chand Kapoor directed two films – ‘Chaand Sitaare’ (1948) and ‘Tarang’ (1952) after which he was absent from Hindi film industry between 1952-57 to resurface as lyricist in 1957. J S Kashyap, the writer and lyricist, directed the only film ‘Anyaya’ (1949). Bharat Vyas, after directing his first film, ‘Rangeela Rajasthan’ (1949), refrained from directing any film thereafter. Aziz Kashmiri directed his first film, ‘Sabz Baag’ (1951). After about a decade, he directed his second and the last film, ‘Pathan’/’Rang Raliyaan’ (1962). Both the films were failures at the box office.
The hardship experienced by Shailendra when he produced ‘Teesri Kasam’ (1966) is well known. Jaan Nisar Akhtar produced ‘Bahu Begum’ (1967). Despite having top actors and excellent music, the film failed at the box office. Probably, he may have realised that producing a film was not his cup of tea. He, therefore, concentrated only on song writing thereafter. There may be some more examples of lyricists turning producer/director and failed. Kavi Pradeep was one among them.
Kavi Pradeep started his career as lyricist with Bombay Talkies and wrote lyrics for six films between 1939-43. The tremendous success of ‘Kismet’ (1943) with its songs, all written by Kavi Pradeep becoming very popular, took his career as a lyricist took a great height. In 1943, because of the internal rift, Ashok Kumar, Shashdhar Mukherjee, Gyan Mukherjee, Rai Bahadur Chunnilal and a few more left Bombay Talkies to form Filmistan. Kavi Pradeep also joined them with a 5-year contract.
‘Chal Chal Re Naujawaan’ (1944) was the first film produced under Filmistan banner whose all songs were written by Kavi Pradeep. The film failed at the box office. It appears that after this, Kavi Pradeep was sidelined in Filmistan. Except for ‘Shikari’ (1946), Kavi Pradeep did not get to write songs for Filmistan’s other films like ‘Mazdoor’ (1945), ‘Eight Days’ (1946), ‘Do Bhai’ (1947), ‘Nadiya Ke Paar’ (1948) and ‘Shaheed’ (1948). Since he was under contract with Filmistan and was almost inactive, Kavi Pradeep wrote for films made outside Filmistan such as ‘Kadambari’ (1944), ‘Amrapali’ (1945), ‘Sati Toral’ (1947) and ‘Veerangana’ (1947) under an assumed name of ‘Miss Kamal B.A.’
After the end of his contract period with Filmistan in 1948, Kavi Pradeep became a freelancer. During this period, he decided to turn producer with a newly set up film production company, Lokmanya Productions along with Amiya Chakrabarty and produced the first (and the last) film, ‘Girls’ School’ (1949) which was directed by Amiya Chakrabarty. The film’s star cast included Geeta Bali and Sohan in lead role with Sajjan, Shashikala, Ram Singh, Mangala, Vimala Vashisht, Haroon, in subsidiary roles.
The film’s synopsis is as under:
Meena (Geeta Bali) leaves home when she is forced to accept an arranged marriage. She comes to a village and set up a girls’ school which is opposed by local landlord. Bipin (Sajjan), the landlord’s brother-in-law has an eye on Meena. The school is in need of a teacher. In response to an advertisement, Shanti Kumar Majumdar appears for an interview and gets selected as teacher in the girls’ school. The landlord’s widowed sister Sumitra Devi (Vimla Vashisht), a supporter of the school, objects because he is not married. Meena and Shanti Kumar fall in love but he realises the damage he may cause to her school and leaves. Bipin then spreads rumours about Shanti Kumar’s morals, which cause a further difficulty that has to be resolved before both the future of the school and of the loving couple may be assured. (Source: https://indiancine.ma/FLM).
The film failed miserably at the box office and Kavi Pradeep lost his good amount of money which probably made him realised to settle for only the song writing for the rest of his life. Amiya Chakravarty started his own banner ‘Mars & Movies’ and successfully produced and directed films like ‘Daag’ (1952), ‘Patita’ (1953) and ‘Seema’ (1955).
‘Girls’ School’ (1949) had 9 songs of which 7 songs have been covered in the Blog, details of which are given below:
| Sr. No. | Details of Songs | Date of Posting |
|---|---|---|
| 1. | Tumhi kaho mera man kyun rahe udaas nahin | 25/04/2011 |
| 2. | Baar baar tum soch rahi ho…chaar din ki chaandni hai | 09/07/2011 |
| 3. | O shahar ke baanke baaboo…zara dil pe rakhiyo qaaboo | 19/05/2015 |
| 4. | Kuchh sharmaate huye aur kuchh saham saham | 06/02/2016 |
| 5. | Raam bharose meri gaadi | 25/10/2016 |
| 6. | Danke ki chot par kehta hoon main | 11/12/2017 |
| 7. | Phoolon ka sapna dekhne waalon | 01/05/2021 |
Generally, Kavi Pradeep was known for his patriotic, inspirational and religious songs. In ‘Girls’ School’ (1949), he had written some light-hearted songs such as songs at Sr. Nos. 4 and 6 in the above table. I am presenting one more light-hearted song, ‘gori ek baat sun badi mazedaar hai’ from the film sung by Chitalkar (C Ramchandra) and Shamshad Begum. The song is set to music by C Ramchandra. I had uploaded the video of the song more than 4 years back with a view to posting the song on the Blog. It is only today, the song got a muharat to be presented under ‘Blogs 10-Year Challenge (2011-2021)’.
Enjoy this ‘nok jhok’ song.
Lyrics of the song were provided by Prakashchnadra.
Audio Clip:
Song-Gori ek baat sun badi mazedaar hai (Girls’ School)(1949) Singers-C Ramchandra, Shamshad Begam, Lyrics-Kavi Pradeep, MD-C Ramchandra
Both
Lyrics(provided by Prakashchandra)
gori ek baat sun
badi mazedaar hai
kyaa
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
piya tum kitne samajhdaar ho
ha ha
kaun kehta hai ki tum ganwaar ho
kyon gori kaisi kahi
badi mauke ki rahi
magar ye baat tumhaari nahin
magar ye baat tumhaari nahin
udhaar hai
haain
teri takraar mein bhi
uun hoon
teri akal se das guni hai gori
mujh mein akal
zara sheeshe mein dekho apni shakal
jyaada bak bak mat kar
jyaada bak bak mat kar
bas ho jaa chupchaap
baap re baap
ghadi ghadi mujhko sata mat
lagega paap
baap re baap
mere bhagwaan bata…aa
mere bhagwaan bata
ye kya chamtkaar hai
mera baalam hai
ya police ka zamadaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
aaj se sun papeeha
aaj se sun papeeha
teri meri kutti
apne naihar ko chali ja
hai tujhe chhutti
aisa mat bolo piya
dhak dhak hoye jiya
aisa mat bolo piya
dhak dhak hoye jiya
phir kaahe ko akadti
meri sarkaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
teri meri preet gori
kabhi nahin chhoote
kabhi nahin chhoote
hato ji hato balam
hato ji hato balam
tum ho bade jhoothe
meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
tera mera jhagda mita
ab to beda paar hai
tera mera jhagda mita
ab to beda paar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
- In: "Moonch"/Mustache song | "Nok-Jhonk" song | Anil Biswas Songs | Body part song | Guest posts | Meena Kapoor songs | Post by Arunkumar Deshmukh | Shamshad Begam songs | Shankar Dasgupta songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 3 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
|
Blog Day : |
4725 | Post No. : | 16437 |
Today’s song is from the film Do Raaha-1952, about which not much is known- except whatever is given in the HFGK.The film was made under the banner of ‘Progressive Pictures,Bombay’. It was directed by Bal Chhabra and was produced by his elder brother Sujit Chhabra under their own banner. The cast of the film was Nalini Jayawant, Shekhar, K N Singh, Agha, Dewan Sharara, Jagdish Sethi and many more. The 8 songs of this film were written by Prem Dhawan-6 songs and one each by Sahir Ludhianvi and Josh Malihabadi. It seems, there was one more song ” Sab paise ki hai maya” sung by Shankar Dasgupta, S D Batish and Prem Dhawan. The song was also recorded but not included in the film. The music was by Anil Biswas.
Like the film title ‘Do Raaha’, Anil Biswas was also almost at a Do Raaha point in his life. He was a disturbed person. His relations with wife Ashalata were worsening by the day. At the same time his closeness to Meena Kapoor was increasing. Out of his total 90 films in his career, 60 films were over and he was looking at the last 1/3 part of his career with a pessimistic view. After this film, he gave music to 29 more films, but his old magic seemed to be deserted him on the way somewhere. Only the films Fareb-53, Pardesi-57, Char dil char rahen-59 and Sautela Bhai-62 had songs having his faint old stamp.
Anil Biswas, the Bhishma Pitamaha of HFM, was a respected person in the industry. He started from the mid 30s and for the next 25 years or so, he created many everlasting gems in film songs. In Bombay,the Playback system was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry.
Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in film Hamdard-53 as a barber. He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now, his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son, broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963, where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep, Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information, hitherto not known much, brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview, with flying colours for entry to NDA college at Poona, to join armed forces. He excelled even in NDA training. Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs, winning all prizes. He was also an NDA Topper.
Shri Gopinath Talwalkar, an A.I.R. Programmer at Delhi, used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording, Pradeep asked Talwalkar, in pure Marathi, whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi, Marathi, English and Gujarati languages.
After completing his NDA training, he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother, and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity as a recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
Here is an interesting incident about the film Girls School-1949, between C Ramchandra, Anil Biswas and Lata Mangeshkar. This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.
Finally when Anil Biswas joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at 2500 pm, when Pradeep was getting 1500 pm. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.
With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded 3 songs and a solo by Lata , “tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.
Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)
Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is “highly Principled” !
Anyway, this was how C Ramchandra became the next MD of Girls school-49, with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.
Today’s song is a very good song and I was surprised to see that it was not yet posted here. Actually, there may still be some more such Gems, waiting to be discovered. This song is sung by Anil Biswas, Meena Kapoor, Shankar Dasgupta and Shamshad. I liked this song. You too will like it.
(Information used in this article is from books Sagar Movietone, Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi book Anil Biswas, with thanks).
Song-Arre na jaane kya samjhen ye moonchhon waale moonchhon waale (Doraha)(1952) Singers- Shankar Das Gupta,Shamshad Begam, Meena Kapoor, Anil Biswas, Lyricist- Prem Dhavan, MD- Anil Biswas
Female chorus
Male chorus
Lyrics
ae jee bach ke chalna aa
paaon mein moch aa na jaaye
ae kamar naazuk kahin bal kha na jaaye
are na jaane kya samjhe ye
moonchho waale
moonchhon waale
khud ko shaane khuda samjhen ye
moonchhon waale
moonchhon waale
ye baanki tagdi moonchho waale
ye ulti seedhhi moonchho waale
ye bin moonchho ke moonchho waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
degree lene aaye thhe
mister magar
pad gayi jaane kahaan
unki nazar
ishq ke college mein aise
kho gaye
ho o o
ho o o
B A hote hote Majnoo ho gaye
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
ye chhoti chhoti moonchhon waale
ye moti moti moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
saara din to jootiyaan chatkaayen hum
aur tab kahin ye chaar paise paayen hum
aeji laaye saadi
laayen powder surkhiyaan aan
o o o o
o o o o
tum udaao aur kamaate jaayen hum
arre phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
o phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
hoy naagan ban das jaayen haay
zulfon waale
zulfon waale
ho naagan ban das jaayen
ho das jaayen
ho das jaayen
haay
naagan ban das jaayen haay
zulfon waale
zulfon waale
ek din mister zara
ghar bhi raho
aur aane jaane waalon se parda karo
maanjo bartan
jhaadoo do
paani bharo
o o o o
o o o
jis tarah marte hain hum
tum bhi maro
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
ye Hitler jaisi moonchhon waale
ye machchar jaisi moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
humko na jaane kya samjhen
ye moonchhon waale
moonchhon waale
Aa sajni pyaar karen
Posted on: May 23, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4692 | Post No. : | 16376 | Movie Count : |
4449 |
Most of us like to see films, be it on a TV, in a cinema hall, or through DVD. Some like old films, some like new films. Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, or Jadui putli ?
I bet none of these movie names have been even heard by you ever. These are all STUNT FILMS or in other words ‘C’ grade films.
Stunt films, Costume films, fantasy films and purely Religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films, the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.
A person seeing/loving or craving for such films is generally considered a ‘Low’ creature and a person with ‘child brain’.
In India ,this is the fate of C grade films .Actually these films have everything that A and B grade films have, like, story, songs, dances, fights etc, but still, the treatment given to handling of the story etc in the films is very poor or lacking in expertise.
Stunts have improved, Technology has evolved but the participation of Zippy the Monkey, Tiger the Horse, Moti the Dog, parrots, snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied, but then she had the backing of companies like Wadia Movietone. Basant pictures, Ranjit, Sagar, National etc. When you read the stories of these films please don’t employ Logic or common sense to it. This is a different world altogether. The set of actors is fixed, many times the composers are unheard of or they are known composers now in bad shape, the Directors are typical and the production houses are exclusive to churn out such films.
It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan. Can you believe that this roly-poly Bhagwan Dada was a great body-builder when he started in stunt films in the late 30’s ? Lalita Pawar (Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi, and Sulochana (Ruby Myers) are some female examples who graduated to Social films via Stunt films.
Sometimes Gems are found in these C grade films. Remember the famous qawali- Hamen to loot liya mil ke husn walon ne- which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film- AL HILAL.
In the 50s and 60s,some respectability was brought to these stunt films by actors like Mahipal, Ranjan, Dara Singh, Azad, Hemant Birje etc. The Heroinesof these movies included Mumtaz, Tabassum, Vijaya Chaudhary, Indira, Nishi etc. Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz, Insaniyat and Azaad etc were made respectable by the stars acting in them. Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes. Thanks to SFX !
Action/Stunt films have a major segment and that is films made with Jungle as a background. Such films had their inspiration from Hollywood Tarzan films. The original Tarzan story was written by Sir Edgar Rice Burrows and it was first published in 1912,followed by its 23 sequels. The story proved to be immensely popular.No wonder, then, that it attracted the Hollywood producers.
The First Silent film ” Tarzan of the Apes” was released in 1918 in which Tarzan’s role was done by Elmo Lincoln and Jane Porter was Enid Markey. From 1918 to 2008,Hollywood made 89 Tarzan Films. The First Talkie film on Tarzan was ” Tarzan-The Ape Man” in 1932.Johnny Weissmuller was doing Tarzan’s role and Maureen O’Sulivan was Jane in it. Johnny was a German bred Romanian settled in America. He was an Olympic Swimming Champion with 5 Gold medals. The pair of Johnny and Maurine was very popular. Johnny Weissmuller did 12 films of Tarzan from 1932 to 1948. 6 films with Maureen,2 without any Jane and 4 with Brenda Joyce. After Johnny, 5 Tarzan films were done by Lex Barker and 6 were done by Gordon Scott. After 1960,there were different Tarzan actors in every film. The Chimpanzee “Cheetah” was there in films from 1932 to 1960,when he died.
In most films, the scripts were loyal to the novels. However, in the novel, Tarzan and Jane get married and they have a son too. In films, they never got married and their son ” BOY ” was found and adopted by Jane. There was one film ” Tarzan goes to India”-1962, in which Firoz khan, Simi Garewal, Jagdish Raj (as Police Inspector),Murad and G. Raghavan had also acted.
In western films, the popular roles are done by the same actors in many films and they are known by that character. For example Sean Connery is famous for James Bond roles, similarly, Johnny Weissmuller is known for his Tarzan roles. These actors later did many other films but their names were connected to the famous roles forever. In India, we do not find such consistency. Here the actor is known by the Genre of his specialty films-like tragedy films-Dilip kumar, Comedy Films-Kishore kumar, Romantic films-Dev Anand, Action Films-Akshay kumar etc.
In India, the core concepts of famous stories on Tarzan, Mythology or folk/costume are adapted by our filmmakers with great talent and creativity. While doing so, they have twisted the Time frame, boundaries of famous stories have been scaled with exceptional ease and an unusual mixture of story characters woven into films. For example, films like Sindbad, Alibaba and Alladin-65 or Shankar, Seeta and Anusuya-65 can only be thought of by the most creative and innovative story writers !
Famous character Tarzan has been combined with Delilah, King Kong, Circus, Cobra, Gorilla, Hercules, Jadugar, Magic lamp, Jalpari, Paristan, Fairyland and even Delhi ! For our filmmakers Time and History are no barriers. Tarzan has been adapted to its Avatar in the form of Zambo, Zimbo, Zanga and Zingaro.
Films with Jungle Titles are almost 60. Here too, the kind of variety in Titles will surprise you. Jungle is coupled with Boy, Beta, Man, King, Jawan, Jawahar, Hero, Girl, Goddess, Princess, Chandni, Sherni, Nagin, Queen, Love, Love story, Haseena, Hoor, Ladki, Sundari, Jawani, Pyar, Muhabbat etc etc. There is one Junglee Tarzan also to sum up the titles.
Sometimes stunt films have a misleading title like Dildar, Dhokebaz, Bahadur kisan, Attention, Azad jeewan etc.etc. However expert Stunt lovers can make it by just seeing the cast. That’s one speciality of stunt films. Names of actors working in stunt films are rather unusual and sometimes weird too. Here are some examples – Mithoo Miyan. Bismilla, Jiji Bhai, Kunzroo, Runzod, Gareeb Shah, Fatty prasad, Kurban Jaun, Manchi Toothi, Bachha, Fazloo, Khodu Irani, Premi, Maqbool Pujari, Nirasha, Vilayatu and two special names CHEMIST and BAJARBATTU.
I was very curious about this name Bajarbattu and wanted to know who this person was. After many years, atlast I came to know about him. His real name was Anant Apte. He started his career with silent films, shifted to Talkie and finally he became a cinematographer and a leading Film Editor. In 1930, Prabhat Film Company had made a silent film “RANISAHEBA”. This was India’s first children’s film. In this film, actor Anant Apte’s name was Bajarbattu. This name became so popular that as long as he was acting, he used that name only in film credits. There is an anecdote about how he helped actor Dharmendra to get established in Hindi films.
Dharmendra was a struggling actor in 1961. He was working in Shola aur Shabnam- his just the second film. He came to know that Bimal Roy was planning to make Bandini. He knew that once he acts in Bimal Ro’s film, his struggle will be over, so he went to Bimal Roy and asked for work. He also told him about his 2 films. Bimal Roy said, ” If you can bring and show me 1 or 2 reels of your films, I can think about you.” Dharmendra went to Ramesh Saigal to ask for 2 reels of film Shola or Shabnam to show to Bimal Roy. Saigal was angry and said” I dont show my film reels to any other director-even if he is Bimal Roy”
Dharmendra was in tears. Those days Anant Apte (Bajarbattu) was the editor of that film. He told Dharmendra ” dont lose hopes. I will give you 2 reals ” He gave 2 reels to Dharmendra and those reels won him a role in film Bandini ! Then there was no stopping him. Anant Apte’s younger brother Madhu Apte was also an actor in Marathi and Hindi films. He stammerred a lot, but he used this lacuna to advantage and did comic roles. ( information from book ” गाथा मराठी सिनेमाची ” by Isak Mujawar ).
Today’s song is from film DILDAR-1947. This Stunt film was made by Shivraj productions and was directed by R.Shivraj, the owner himself. After the second world war many people who earned extra money by Black Marketing etc entered film industry and made many films. Some of them even directed films. This Shivraj probably was also one of them. Having directed his first film Dhokebaaz in 1946, he tried once again with this film and them closed his shop. I did not find his name ever after in any film.
The music was by Shaukat Dehalvi….who became famous and well known after changing his name for the 4th time as NASHAAD. Born as Shaukat Haidari, in Delhi, on 11-7-1923, He was one composer who used several names to give music. His first film was Dildar in 1947. He used the name Shaukat Dehlavi for Dildar-47, Paayal-48, Suhagi-48, Dada-49, Ghazab-51 and Ram Bharose-51. He was Shaukat Hussain Dehlavi for Jeene do-48, Shaukat Ali for Toote Tarey-48 and Shaukat Haidari for Aiye-49.
The Lyricist was C.M.Hunar. He wrote 89 songs in 12 films – Neelam-45, Kango-46, Haqdar-46, Stage Girl-47, Kismatwali-47, Dildar-47, Tigress-48, Jungle Goddess-48, Naqli Baap-49, Billi-49, Do Bahadur-53 and Jaani Dushman-57.
The song is a duet by Shaukat Dehalvi and Naseem Akhtar. With this song, film Dildar makes its Debut on this Blog.
Song-Aa sajni pyaar karen (Dildaar)(1947) Singers-Naashaad, Naseem Akhtar, Lyrics-C M Hunar, MD-Nashaad
Both
Lyrics
Aa sajni ee
Aa sajni ee
pyaar karen
haan pyaar karen
aa saajan
pyaar karen
pyaar karen
aa saajan
prem ki sundar raaton mein
pyaar ki meethhi baaton mein haay
prem ki sundar raaton mein
pyaar ki meethhi baaton mein
haay
pyaar ki meethhi baaton mein
man se man ka
man se man ka
vyopaar karen
haay pyaar karen
aa saajan pyaar karen
pyaar karen
aa sajni
saare jagat ki reet bhulaa kar
saare jagat ki reet bhulaa kar
do dinon ki duniya basaa kar
do dinon ki duniya basaa kar
prem ka saagar
prem ka saagar paar karen
haay pyaar karen
aa saajan
pyaar karen
pyaar karen
aa sajni
pyaar karen
haan pyaar karen
aa saajan
ha ha ha ha
ha ha ha ha
ha ha ha ha
pyaar ko apne tan man ka
aa aa aa aa
pyaar ko apne tan man ka
aa aa aa
pyaar ko apne jeevan ka
pyaar ko apne jeevan ka
pyaara pyaara haar karen
pyaara pyaara haar karen
pyaar karen
aa saajan
pyaar karen
pyaar karen
aa sajni
pyaar karen
haan pyaar karen
aa saajan
pyaar karen
haan pyaar karen
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 : |
4688 | Post No. : | 16372 |
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Blog 10-Year Challenge (2011-2021) – Song No. 23
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This day ten years ago (19 may 2011) saw four songs being covered in the blog. That month of may 2011 was seemingly a month when I was not in a position to discuss songs with the same regularily and rate that I used to achieve in the past. My guess is that summer vacations were on at that time. My school going daughter, my ife and our three pets had joined me at Nagpur and that as the reason for less number of posts in this month. With the benefit of hindsight, even that rate that I managed to achieve in this month ten years ago makes that month seems like a prolific month vis a vis the same month ten years later. 107 songs were covered in may 2011, whereas 18 days of the corresponsing month this year has seen only 26 songs getting covered in first 18 days of the month of may 2021.
Here are the details of the four songs covered in the blog on 19 may 2011:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 3904 | Ham apne dard ka kissa sunaaye jaate hain | Muqabala (1942) | Two songs covered by now out of nine |
| 3905 | Aasmaan se door taaraa ho gaya | Darogaji(1949) | Eleven songs covered out of 12. Final song unavailable |
| 3906 | Aaya re aaya re mera jaane bahaar aayaa | Insaaf(1966) | 2 songs covered by now out of six |
| 3907 | Naseeb hoga mera meharbaan kabhi na kabhi | Chaalis Din(1959) | 5 songs covered by now out of 8 |
We can see that all four movies remain upYIPPEED even ten years later. So potentially we can have four Blog Ten Year Challenge posts today. But realistically, it can not be that. For example, the one missing song of “Darogajee”(1949) seems to be unavailable. So another song from that movie cannot be discussed. And so, that movie cannot be YIPPEED as things stand today.
“Muqaabla”(1942) was chronologically the first movie whose song was covered ten years ago. This movie was produced by Homi Wadia and directed by Batuk Bhatt and BabuBhai Mistry. It had Fearless Nadia and Yakoob
with Sreenivas, Rajni, Dalpat, Agha, Nazira, Baby Madhuri, M.K.Hasan, Jal Khambata, Khan Mastana, A.Rehman, Azim, Habib, Kunzru etc in it.
The movie had nine songs in it. Two songs have been covered in the past.
Here is the third song from “Muqaabla”(1942) to appear in the blog. This song is sung by Khan Mastana.An unknown female voice joins in chorus for a few lines. A Karim is the lyricist. Music is composed by Khan Mastana.
The song is picturised as a dance song on a male and a female dancer. I am unable to identify the male dancer, but the ghaghra choli donning female is unmistakably fearless Nadia. It must be a rare occasion where fearless Nadia is dressed in a desi female attire and she is dancing like a desi lady. We are used to see her dressed in masculine attire and fighting baddies.
It is another man (and not the male dancer) who lip syncs the song on screen.
I request our knowledgeable readers to throw light on the picturisation of this song.
Can it be so that the female voice heard in the song is that of Fearless Nadia herself ? I request our knowledgeable readers to throw light on this matter.
Lyrics of this song were sent to me by Prakashchaadra.
video link:
audio link:
Song-Meri jholi bhar de khaali teri raam kare rakhwaali (Muqaabla)(1942) Singers-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana
Khan Mastana + Unknown female voice
Lyrics(Provided by Prakashchandra)
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
paisaa dewey paisaa paavey
paisaa dewey paisaa paavey
sunn ley rey baabaa aa
jaisaa dewey waisaa paawey
jaisaa deway waisaa paawey
diyaa liyaa tere sang chale ae
diyaa liyaa tere sang chale
ye jag ki reet niraali
ye jag ki reet niraali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
moh lobh ke tod dey phandey ae
o baaboo jee
moh lobh ke tod dey phandey ae ae
o baaboo ji
moh lobh ke tod dey phandey ae
jhoothi duniya jhoothey dhandey
le jaa dil ki duaayein
bandey kabhi na jaayein khaali
de jaa dil ki duaayein
bandey kabhi na jaayein khaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
duniya rain baseraa hai
paapon kaa chahoon oar andheraa hai ae ae
duniya rain baseraa hai ae ae
paapon kaa chahoon oar andheraa hai
neki ka tu diyaa jalaa ley
ek paisaa dey ae
neki ka tu diyaa jalaa ley
ek paisaa dey ae
rain baney ujiyaali manwa
rain baney ujiyaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
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 : |
4683 | Post No. : | 16366 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 140 # Qawwalis – 12 #
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Welcome all to the twelfth article under this series. Earlier I had thought of concluding this series with today’s post. However, I have now decided to extend this series. That final fe posts will contain the details of the songs that were covered in this series.
For today’s presentation I am once again presenting a qawwali from the movie ‘Auliyaa E Islaam-1979’ (or Aulea-e-Islaam).
This movie was directed by A. Shamsheer for ‘Roopesh Film Combines, Bombay’. It was produced by Ram Gopal Gupta and Ram Kishan Gupta.
It had Farida Jalal, Tabrez, Imtiaz Khan, Soniya Sahni, Naaz, Jairaj, Nazir Hussain, Paro, Master Amjad and Rajendra Nath, Hakeem ji, Husn Bano, Shefali Choudhary and Master Tinoo, Mirza Musharaf, Khalifa, Usman, Ramesh Dubey, supported by Shatrujeet, Jagdish Raj, Rajan Haksar, Birbal. Mehmood, Padma Khanna, Keshto Mukherjee and Mukri had special appearances in this movie.
This movie had as many as eleven songs and I guess nine of them are qawwalis.
Famous qawwals Shankar-Shambhu, Jaani Babu, Yusuf Azad, Chhote Yusuf, Abdur Rab Chaush, Rashid Hairan, Aziz Warsi and Aziz Nazaan had sung the qawwalis in this movie and I think they performed on most of them as well.
Lyrics for this movie were written by Gauhar Kanpuri, Vikar Nagari, Kamil, and Khurshid Anwar. Music for this movie was composed by Jaani Babu.
Today on ‘Eid’ here is a ‘sufiyana qawwali’ from ‘Aulia E Islaam-1979’ sung by Jaani Babu who the composer of this qawwali is too.
Let us all pray to the ‘almighty’ that let there be peace all over and let all be safe and healthy.
Wishing all a very happy ‘Eid’ once again…
Audio
Song-Nizamuddin Aulia banaa do bigde kaam hamaare (Aulia e Islaam)(1979) Singer-Jaani Babu Qawwaal, MD-Jaani Babu Qawwaal
Lyrics
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin aulia
banaa do bigde kaam hamaare
bhanwar mein aayi hai naiyya
aa aa aa aa
bhanwar mein aayi hai naiyya
lagaa do ab to kinaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin
suno e khwaja e aali
hamaare haath hain aen aen
khaali
ye bhar jaayen abhi pal mein
nazar tumne agar daali
ho o o o o o o o
tumhi ho dilli ke raja
tumhi ho dilli ke raja
ho tum bin kisko pukaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin
karam ham par bhi farmaao
muraadein dil ki bhar laao
naa hamko aur tarsaao
naa hamko aur tadpaao
ho o o ho o o ho o o o
suni hai laakhon ki bipadaa
aa
suni hai laakhon ki bipadaa
hazaaron bhaag sanwaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin
dar e aqeedat pe aaye hain
adab se sar jhukaaye hain
tamannaayen hazaaron hi
ham apne saath laayen hain
ho o o o o o o o o o o o o o o
dilon ko khushiyon se bhar do
dilon ko khushiyon se bhar do
ke ham hain dard ke maare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin
naseeb apne banaayenge
jo maangaa hai wo paayenge
tumhi se lene aaye hain
tumhi se leke jaayenge
ho o o o o o o o o o o o o o o
tumhi se aas lagi khwaaja
tumhi se aas lagi khwaaja
ke tum ho dil ke sahaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin aulia
banaa do bigde kaam hamaare
nizamuddin
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